Solid gold (Fanny) (LP 2512 - 2513)

Fanny  Mothers Pride (Vinyl, Reprise Records, 1973) ***

Fanny  Rock And Roll Survivors (Vinyl, Casablanca Records, 1974) ***

Genre: pop, rock

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: Beside Yourself (Mothers Pride)

Gear costume:  Butter Boy (Rock And Roll Survivors)

Active compensatory factors: Back in the day, all women rock band, Fanny, were a favourite of mine because of their covers of Beatles' song Hey Bulldog, and Cream's Badge. Those are on the earlier albums (Fanny, Charity Ball) which I sold*. Doh!

Mothers Pride (no apostrophe from these rebels) was produced in overly exuberate fashion by Todd Rundgren (worst offender is I Need You Need Me). It's better when he scales back on the histrionics for Polecat Blues and Beside Myself. The off key singing on Solid Gold by drummer Alice de Buhr isn't fun.

She and guitarist June Millington left the band for Rock And Roll Survivors (Brie Howard and Patti Quatro joined). It sounds more polished and commercial (very Casablanca in other words) and is therefore missing the rawness of those first two albums.

Where do they all belong? *I used to have these but I sold them all off many years ago. Dumb. Now I'm trying to collect the first two again.

Love is emotional (Neil Finn) (LP 2508 - 2511)

Neil Finn  Out Of Silence (CD, Lester Records, 2017) ****  

Finn Brothers  Finn (CD, Parlophone Records, 1995) ****  

Finn Brothers  Everyone Is Here (CD, Parlophone Records, 2004) ****  

Neil & Liam Finn  Lightsleeper (CD, Lester Records, 2018) ****   

Genre: NZ music, pop

Places I remember: JB Hi Fi, Real Groovy Records

Fab, and all the other pimply hyperboles: Suffer Never (Finn Brothers)

Gear costume: Angel's Heap (Finn Brothers); Disembodied Voices (Everyone Is here)

Active compensatory factors: I am sadly lacking in Neil's solo albums. Instead, I have loads of other albums he's been a collaborator on, like 7 Worlds Collide, Crowded House, Split Enz of course, Finn Brothers with Tim, and with his son Liam.

Why is this? Not sure is the short reply. I love what he does: his singing, his songs, and his approach. Somehow, I haven't become a Neil Finn completist I guess.

The one solo album I do have, from 2018, is excellent. Sharon, Elroy, and Tim all appear on it. The harmonies on these well-crafted songs are a real stand out.

The two Finn Brothers albums are terrific. Their voices together are special and their brotherly bond shines forth throughout (the photos in the CD booklet are great - big brother Tim and the precocious talent of Neil on display).

Highlights aplenty on those two albums. I particularly like the range of styles and approaches over them. Overall, Everyone Is Here is a rockier effort than the first album (albeit with the Split Enz crew's Edible Flowers providing Tim with his sombre, somewhat bitter, moment).

For the moment, that just leaves his collaboration with son Liam, on Lightsleeper. 

Obviously the father son dynamic is a crucial one, but the Finn family all appear on this album as well - Sharon and Elroy are clearly an important part of the process as well as Neil and Liam. Harper, Elliot and Devo Finn get spots and Mick Fleetwood also makes an appearance.

But it's clear that the two main drivers are Liam and Neil. I love the way songs unfold gradually on this album. It feels utterly current too. I play it a lot!

Where do they all belong? There will be more to come. He's a favourite son of Nu Zild, and an artist I greatly admire. I even sat a few rows back from him at a Paul McCartney gig, so I feel connected. More to come from Neil with Tim's solo output and the Enz.

Little by little (7 Worlds Collide) (LP 2506 - 2507)

Neil Finn & Friends  7 Worlds Collide: Live At The St. James (CD, Parlophone Records, 2001) ****  

7 Worlds Collide   The Sun Came Out (CD, Oxfam Records, 2009) ****  

Genre: pop, rock, NZ music 

Places I remember: Oxfam charity shop (Caterham)

Fab, and all the other pimply hyperboles: There Is A Light That Never Goes Out (Neil on lead vocal)

Gear costume: All Comedians Suffer; Too Blue (The Sun Came Out)

Active compensatory factors: Before I launch into Neil Finn's solo career, a brief stop off for his supergroup from 2001 and 2009.

It started with the live album, made up of five shows at The St. James in Auckland. The friends joining Finn family members (Tim and Liam) are Eddie Vedder, members of Radiohead, Lisa Germano, and Johnny Marr.

It's a really cohesive, well-rehearsed set but still has that casual NZ brilliance that Neil brings to his projects. It all seems effortless, which of course means a lot of thought and work has gone into it.

Highlights aplenty from Eddie, Neil, Tim, and Betchadupa.

The Sun Came Out is a studio album featuring many of the same people from 2001 but with a few more NZ musicians contributing this time - Bic Runga, Sharon and Elroy Finn, Don McGlashan, plus members of Wilco.

It's bright and bubbly with a variety of different approaches and voices. Johnny Marr and the Wilco boys provide some of the best moments and Neil is a generous and democratic host.

As it's a double CD it's hard to maintain the quality but it doesn't often flag, and there's always another lovely song coming up. An underappreciated gem, I think.

Where do they all belong? That's it so far for 7 Worlds Collide. Next up - Nil Fun's solo albums.

Something familiar (Field Music) (LP 2504 - 2505)

Field Music  Field Music (CD, Memphis Industries Records, 2005) ****  

Field Music  Field Music (Measure) (CD, Memphis Industries Records, 2009) ***  

Genre: Alt pop 

Places I remember: Shona Walding collection; Marbecks Records  

Fab, and all the other pimply hyperboles: Something Familiar (Measure)

Gear costume: If Only The Moon Were Up (Field Music)

Active compensatory factors: I read a review of Measure in Mojo magazine and was intrigued enough to buy a copy. I like it but it's a loooooong album.

The bits I like the most are when they are channeling classic pop bands and sounds, like The Beach Boys, Steely Dan, and The Beatles.

The band is principally two brothers - Peter and David Brewis from Sunderland.

Their first album, which I inherited from Shona Walding's collection is the better of the two in my opinion.

It's briefer and to the point, and those influences are front and centre.

Where do they all belong? An interesting corner of the collection.

Wandering eye (Fat Freddy's Drop) (LP 2499 - 2503)

Fat Freddy's Drop  Live At The Matterhorn  (CD, The Drop Records, 2001) *** 

Fat Freddy's Drop  Based On A True Story  (CD, The Drop Records, 2005) ***  

Fat Freddy's Drop  Dr Boondigga And The Big BW  (CD, The Drop Records, 2009) **** 

Fat Freddy's Drop  Blackbird  (CD, The Drop Records, 2013) **** 

Fat Freddy's Drop  Special Edition Part 1  (CD, The Drop Records, 2019) ****  

Genre: NZ music, reggae, jazz, funk, dub

Places I remember: Slow Boat Records, Samantha Purdy, JB Hi Fi, Real Groovy Records

Fab, and all the other pimply hyperboles: The Nod (Dr Boondigga)

Gear costume: Bounce (Live); Silver And Gold (Blackbird)

Active compensatory factors: Fat Freddy's Drop is a hard to categorise seven-piece NZ band from Wellington. Their first album was recorded live at a club in Cuba Street, Wellington (Slow Boat Records is just up the Cuba Mall). You can't get more Wellington than that! 

It only has four songs but the CD is 70 minutes long! The guys like to stretch out! What you get are deep grooves with trumpet and sax used as lead instruments with guitar and keyboards adding the groove.

Repetition is the name of the game for Fat Freddy's Drop. That means not only the groove but lyrics as well. On top of that comes lengthy improvisation. I'm a big fan, having been introduced to the band by one of my daughters (she left Boondigga behind when she left home).

It's hard to beat that first impression, so this is my go-to album and the one I promote to friends and family in the UK. It's unhurried but still well constructed and executed.

Blackbird is also a terrific example of the band at their peak. The dub influence is still very much in evidence. It's a harder sound than Dr Boondigga but great summer weather music. It also includes the single Silver And Gold - a clear standout in their catalogue.

Special Edition Part 1 came out in 2019 (there is no Part 2 as yet - maybe there won't be). The music is a little more keyboard driven (think electronica) these days which is cool with me. The reggae influence is still very prevalent though, as are the horns.

It's pretty amazing how they manage to evolve but keep true to their jam band origins.

Where do they all belong? A couple for me to catch up with - including Bays, a studio album from 2015.

Why d'ya do it (Marianne Faithfull) (LP 2497 - 2498)

Marianne Faithfull  Broken English (CD, Island Records, 1979) *****  

Marianne Faithfull  Blazing Away (CD, Island Records, 1990) **** 

Genre: Pop/ rock 

Places I remember: Real Groovy Records; Shona Walding collection.

Fab, and all the other pimply hyperboles: Why D'ya Do It

Gear costume: Working Class Hero 

Active compensatory factors: Marianne Faithfull has generated a lot of publicity in her lifetime. If you google her name you're immediately given her relationship with Mick Jagger to peruse, but her extraordinary life is so much more than that short alliance. Her two autobiographies that I've read (Faithfull, Memories Dreams and Reflections) are harrowing documents.

Musically, she is very prolific, having started her recording career in 1964, and she's still active in the 2020's. Like Keith Richards, it's pretty amazing that she's still alive.

Broken English was an unlikely triumph for her in 1979. Her voice had undergone a radical transformation thanks to health issues, drugs and her lifestyle.

The new-wave, punkish rock of Broken English was also a radical departure and revelation after the whimsical folk stylings she had been releasing.

The sound is tough and uncompromising to a scary degree. Not for the faint-hearted this one.

Blazing Away is an excellent live album from 1990 and so forms a bit of a career summary with songs from 1964 onwards. As she says in her liner notes: here is my life story on tape.

Broken English songs are scattered throughout, of course. They stand out!

Where do they all belong? I've tried other albums by her but they don't have the extraordinary heft of Broken English.

New frontier (Donald Fagen) (LP 2496)

Donald Fagen  The Nightfly (CD, Warner Bros Records, 1982) ****  

Genre: pop/ rock

Places I remember: Roger Marbeck gave me this one.

Fab, and all the other pimply hyperboles: New Frontier

Gear costume: Ruby Baby

Active compensatory factors: I enjoy, without absolutely loving, this debut solo album from one half of Steely Dan.

It's familiar territory, and that's down to Fagen and all the musicians he used in Steely Dan albums as well. Although, having said that, the songs are quite autobiographical compared to his work with Steely Dan and it's a lot jazzier in style as well. Walk Between Raindrops is a good example as it trips along on jazzy organ lines from Donald.

New Frontier was my entry to the album, thanks to the wonderful video that was on all of the music video shows that were a big deal back in 1982. Weird how short lived they all were. YouTube killed them all off.

Bottom line: it's just not an album I have a hankering to come back and listen to that often, unlike Steely Dan albums. I'm not sure why that is.

Where do they all belong? A lot more Fagen to come when we eventually get to S.

Had me a real good time (Faces) (LP 2489 -2495)

Faces  First Step (CD, Warner Bros Records, 1970) *** 

Faces  Faces Live BBC1 - Live 1970 (Vinyl, 1960's Records ) ***  

Faces  Long Player (CD, Warner Bros Records, 1971) *** 

Faces  A Nod Is As Good As A Wink... To A Blind Horse (CD, Warner Bros Records, 1971) ***** 

Faces  Ooh La La (CD, Warner Bros Records, 1973) *** 

Rod Stewart/ Faces  Coast To Coast: Overtures and Beginners (Vinyl, Mercury Records, 1974) *** 

Rod Stewart & Faces  Live in London (CD, Immortal Records, 2007) *** 

Genre: Rock 

Places I remember: Fives, JB Hi Fi; Record Shop in Notting Hill (Coast To Coast)

Fab, and all the other pimply hyperboles: Miss Judy's Farm (A Nod...)

Gear costume: Stay With Me (A Nod...)

Active compensatory factors: What I love about Faces is they always seem to be having the best time! There is an unassuming spirit of fun that shines through, most of the time.

That said, First Step is a tad tentative. Although the template is pretty much there - Ron's casually brilliant guitar riffs, a slightly shambolic approach (drums are key to that, and Ron's guitar); Mac's organ and piano sound; an instrumental thrown in like they ran out of time to write lyrics; Rod's ad libs and casually brilliant vocals; Ronnie Lane's vocal alternative; the football terrace backing vocals.

They'd get better, or more shambolic, as they'd go on. At this stage though it's a rough diamond. The Live 1970 album is a collection of Top Gear and John Peel sessions. It's all good fun, as you'd expect but it's not a continuous live concert.

Long Player is the second studio album. I often think of those first two studio albums as Vol 1 and 2. They are first steps towards the glory that is album number three - their classic.

A Nod Is As Good...is where all the elements come together brilliantly. The album is their second of 1971 (possibly the best year ever for music) but this one sounds way more confident than Long Player.

It kicks off with the mighty Miss Judy's Farm and doesn't let up. Along the way we see all sides of Faces. From Debris to Stay With Me. If you only buy one studio album from Faces - this is it!

Things had changed a bit by 1973. Rod's solo career was off and running (Maggie May had happened) and the cracks were appearing. The back cover has five individual portraits, rather than a group shot.

Still, there are plenty of quality spots - principally Cindy Incidentally and the title track sung brilliantly by Plonk. In fact, he influences the sound a lot on this album and you can hear the beginnings of his own solo career, particularly on side 2.

The Rod Stewart/ Faces live album, Coast To Coast: Overtures and Beginners (what a daft title!) is a tricky one. Rod didn't tour on his own, instead he used Faces as his live band. So, this set has 3 Faces songs, and 6 solo Rod Stewart songs.

In that regard the band sound had begun to sound much more like his solo albums, rather than A Nod Is A Wink... era Faces.

By this stage Tetsu had replaced Ronnie Lane in the band and the stage was getting set for a break up.

The Live In London set is raucous and good fun but it's more like a Rod Stewart concert with backing from the last orders version of Faces. Keith Richards makes an appearance, which is fitting, given the Faces were so obviously inspired by the Stones.

Where do they all belong? A compilation is probably the most obvious place to start, but it doesn't give the full picture to my mind. Instead, I'd recommend A Nod Is A Wink.. as the starting point. Faces at their finest.

Welcome, ghosts (Explosions In The Sky) (LP 2487 - 2488)

Explosions In The Sky  Those Who Tell The Truth Shall Die, Those Who Tell The Truth Shall Live Forever (CD, Temporary Residence Limited Records, 2001) ****  

Explosions In The Sky  All Of A Sudden I Miss Everyone (CD, Temporary Residence Limited Records, 2007) ***  

Genre: Post rock 

Places I remember: JB Hi Fi

Fab, and all the other pimply hyperboles: With Tired Eyes, Tired Minds, Tired Souls, We Slept

Gear costume: The Moon Is Down 

Active compensatory factors: I don't really know what post-rock is. It's not like rock as a genre has finished right?

Wikipedia defines it, but it sounds like prog rock to me.

Whatever it's called, I like it. The instrumental approach is perfect for this band, like Isis do in a more metal vein.

Those Who Tell The Truth...was their second album. These four guys from Texas construct interesting, rewarding songs without a shred of noodling or wig outs (I like both, but Explosions In The Sky manage beautifully without indulging - maybe that's the difference between post rock and prog?)

All Of A Sudden...was album number 5 and continues the adventure. Maybe a little less coherent than album number 2? Hard to say. Still worth your time.

Where do they all belong? The band still exists and still tours. I'll be on the look out for more of their albums for sure.

These early days (Everything But The Girl) (LP 2477 - 2486)

Everything But The Girl  Eden (Vinyl, Blanco y Negro Records, 1984) *****  

Everything But The Girl  Love Not Money (Vinyl, Blanco y Negro Records, 1985) ***  

Everything But The Girl   Baby, The Stars Shine Bright (Vinyl, Blanco y Negro Records, 1986) *** 

Everything But The Girl   Idlewild (Vinyl, Blanco y Negro Records, 1988) ***** 

Everything But The Girl   The Language Of Life (Vinyl, Blanco y Negro Records, 1990) ***

Everything But The Girl   Worldwide (CD, Atlantic Records, 1991) *** 

Everything But The Girl   Acoustic (CD, Atlantic Records, 1992) ****

Everything But The Girl   Amplified Heart (Vinyl, Buzzin' Fly Records, 1994) ***** 

Everything But The Girl   Walking Wounded (Vinyl, Buzzin' Fly Records, 1996) ***** 

Everything But The Girl   Fuse (Vinyl, Buzzin' Fly Records, 2023) *** 

Genre: Pop, electronica 

Places I remember: Market stall and music shops in Greenwich, Chaldon Books and Records (Caterham-on-the-hill), gift from Roger Marbeck, Slow Boat Records, JB Hi Fi.

Fab, and all the other pimply hyperboles: Oxford Street (Idlewild)

Gear costume: Don't Leave Me Behind (Baby, The Stars Shine Bright); I Always Was Your Girl (Idlewild)

Active compensatory factors: The eighties and EBTG passed me by at the time, because these were our child rearing days. So, it was a catch up that I embarked upon while living in England after reading Tracey's superb books that resulted in owning many of these albums. Along the way, I fell in love with the mystique around her relationship with musical and life partner, Ben Watt, (they would marry in 2009), her books and her voice.

Eden is a beautiful introduction to Everything But The Girl (EBTG). For me it's right up there with Van Morrison's Astral Weeks.

The jazzy stylings and instruments suit Tracey Thorn's beautiful voice - even though these were early days. The jazzy arrangements and lush sound all make for an extraordinary debut.

Second album Love Not Money was a change of tack into a more contemporary 1985 sound. There is a lot of social commentary and it often sounds like The Smiths. It's not one of my favourites - mainly because there are no killer tunes on the album.

The other slight negative is that Ben doesn't have a really distinctive vocal style, so he pales next to Tracey's easy command when he does a few vocals on the album.

Their third was Baby, The Stars Shine Bright and it was another style shift. This time an orchestra is employed to add colour and weight to some romantically inclined songs. 

Tracey handles all of these stylistic changes with ease. She is never less than compelling.

Idlewild came after a two year break and deals with more personal things like childhood and family. Maybe it's because of that that I love it so much. A song like Oxford Street just makes me tingle!

The sound is warm, natural and textured on these songs. I even like Ben's vocals on The Night I Heard Caruso Sing.

My copy of The Language Of Life is unique in that it has Ben and Tracey's signatures on the cover! If only it said - 'To Wozza, love from Tracey Thorn, Be Lucky Ben Watt' rather than to my friend Roger Marbeck!

Roger gave me this copy obviously!

The music this time around is much less organic than Idlewild. The session players on board are impressive and get into some great grooves. Among them: Joe Sample; Michael Brecker; Vinnie Colaiuta; and Stan Getz on one track. Woh. I mean - Stan Getz!!

Even though the whole package sounds eighties slick, Tracey is still the star, even with all of those heavy hitters.

Worldwide and Acoustic are kind of a stylistic pair. They were even paired for a reissue but my CD copies haven't been messed around with bonus track wise.

They also weren't big sellers in the early nineties. Strange because they had good commercial sounding songs and Tracey sounds great as always. Maybe the sparse, more synth based sounds and programmed drums turned punters off a bit.

Ben Watt writes the lion's share of the songs and he's definitely more inclined to use synths, and other digital instruments. Tracey's songs sound more natural to my ears. You Lift Me Up from Worldwide is a good example of that different approach.

That song is followed by Ben's Talk To Me Like The Sea with its heavy processed drum and synth sound and the difference is stark.

The Acoustic album is pretty cool in comparison - stripped back and some excellent covers. Tracey and Ben make them their own. No mean feat with songs by Springsteen, Cyndi Lauper, Tom Waits, Costello etc.

Their eighth album was Amplified Heart in 1994. The dance remix of Missing by Todd Terry ensured this album was huge.

The rest of the album is a wonderful collection of more stripped back songs. This tends to highlight the wonders of Tracey's vocals as the backing track is more judicious and serves her voice, rather than the other way around.

Amplified Heart catches the duo at an interesting moment, as they'd embrace electronica more from here on in, so this one captures them on the cusp in a unique way.

I was pretty sure that I had all Marine Girls, Tracey solo albums and everything by EBTG. Until I did this post and realised that I was missing Walking Wounded from 1996. So I picked up a copy from JB Hi Fi this week.

It's a great early morning/ late night record I've found. The drum and bass/ techno stance from Ben Watt and Tracey's warm voice are a perfect combination.

Their Temperamental album was reviewed earlier, so that just leaves their most recent album Fuse for this countdown.

The proclivity for electronica has continued and it's taking me a while to love it. Compared to Idlewild and Amplified Heart it's a colder record, but Tracey's voice keeps the human aspect alive and well. She's a marvel!

 

Where do they all belong? I am pretty sure I now have all of The Marine Girls, Tracey solo albums and everything by EBTG. I'm not inclined to collect Ben's solo albums (sorry). Tracey is the drawcard for me.

I also have all of Tracey's books and I recommend them unreservedly. She's a great writer, as well as a great singer.

Needles in the camel's eye (Eno ) (LP 2476)

Brian Eno  Here Come The Warm Jets (CD, Virgin Records, 1974) ****  

Genre: Pop rock 

Places I remember: Fopp

Fab, and all the other pimply hyperboles: Here Come The Warm Jets

Gear costume: Needles In A Camel's Eye 

Active compensatory factors: I don't know what to make of Eno. I hear echoes of Roxy Music on Here Come The Warm jets, his debut solo album, but it's fleeting. Is he a musician even? He has described himself as a non-musician but he played keyboards for Roxy Music. He strikes me more as an ideas man, a presence, an enabler and a serial collaborator. And yet he pops out solo albums in a bunch of genres.

Mostly this is experimental pop, with a lot of avant-garde touches and a lot of guest musicians. It certainly sounds like many of New Zealand's Dunedin bands were paying attention. Many of the songs remind me of sounds made by Toy Love/ Tall Dwarfs/ Chris Knox, especially. Needles In A Camel's Eye sounds so much like a long lost Toy Love song!

I played this album continually for days trying to get a fix on it for this review and it kept slipping through my fingers. It's an album to appreciate, rather than enjoy, in my case.

Where do they all belong? Apart from Roxy Music and some ambient stylings - that's it for solo Eno in my collection.

Paint it black (The Rolling Stones) (LP 2475)

Eric Burdon and War  The Black-Man's Burdon (Vinyl, Avenue Records, 1970) ****  

Genre: Rock, jazz/funk

Places I remember: JB Hi Fi. I'd been looking at this box set of the three Eric Burdon and War albums for months. It was a Record Store Day item and I already have copies of Love Is All Around and the first album - Eric Burdon Declares "War" on CD. When it didn't sell, they reduced the price and I decided to take advantage of the extra 20% off for Easter. I hadn't been able to ever find a decent second hand copy - this was definitely a party album back in 1970 - so I bit the bullet.

Fab, and all the other pimply hyperboles: Paint It Black medley

Gear costume: Spirit

Active compensatory factors: This was the second album Eric made with War. It's a double and he and the band stretch out brilliantly over the four sides (or noodle endlessly depending on your proclivities).

It's a great set, maybe not as great as their first album but I've lived with that for much longer. 

It's the sort of album I know I'll return to often, and find new stuff on it each time. For now the immediate interest is with the versions of Paint It Black and Nights In White Satin - both obviously chosen for their black and whiteness.

Where do they all belong? Only one album I'm after now from Eric - Animalism from 1966 (not to be confused with Animalisms, also from 1966!)

You're not alone (Embrace) (LP 2472 - 2474)

Embrace  Drawn From Memory (CD, Virgin Records, 2000) *** 

Embrace  If You've Never Been (CD, Virgin Records, 2001) **** 

Embrace  Out Of Nothing (CD, Independiente Records, 2004) ****

Genre: Pop rock 

Places I remember: Slow Boat Records, The Warehouse

Fab, and all the other pimply hyperboles: Ashes (Out Of Nothing)

Gear costume: You're Not Alone, I Had A Time (Drawn From Memory); Wonder (If You've Never Been)

Active compensatory factors: I always think of Embrace as cousins to Coldplay and NZ band Evermore. Especially Evermore because of the similar harmonic pop sound and the brother thing.

Ashes is of course an anthem now. What a great song! But before that came Embrace's second and third albums.

Drawn From memory is quite a gutsy record - loads of jagged guitars. The songs have a nice range from ballads to rockier moments. Some of the songs have those anthemic choruses that remind me of Evermore.

Third album, If You've Never Been, is mostly a gentler set of sounds/songs. Wonder, the third track, is a case in point - anthemic but quieter than expected.

Their fourth album came a few years later. This is the most anthemic, boisterous one. It kicks off with Ashes and while that's the best song, there are plenty of other fine moments throughout.

Where do they all belong? Listening to these has made me keen to keep collecting their other albums. I realised how much I still liked their sound.