David Bowie - "Hunky Dory" (1971)

 

Heading backwards in time through David Bowie's discography now, Hunky Dory is the album previous to his breakthrough classic The Rise and Fall of Ziggy Stardust and The Spiders From Mars, and was brought into the mainstream consciousness by the success of that album. I find it so strange that it didn't break through on its release, because it features some of Bowie's most anthemic, feel good singles that are now considered some of his most iconic tracks.

The album opens on such a run, with the first four tracks being brilliant. The album opens with Changes, which is such an anthemic and sing-a-long tune with sweeping strings that sound like a film score. The stuttering way Bowie sings the chorus is just so charismatic and fun. This leads into Oh! You Pretty Things which is much more of a bouncy, stomping glam rock jam, which is just as fun and theatrical. Eight Line Poem slows the pace down into something more bluesy and sorrowful, which is exactly what is needed to lead into the dramatic, emotional masterpiece that is Life on Mars?. Everyone has heard this song, it's one of Bowies most famous, and it has such a cathartic release to it that makes it obvious why. The intense swells of strings, the powerful storytelling about escaping in cinema, and Bowie's soaring, impassioned vocals work so perfectly.

However, after this point I feel like the record is nowhere as consistent and a bit lightweight in places. I think this is a bit of a controversial opinions as it's generally considered one of the best Bowie records by most fans. None of the songs are noticeably poor quality, but it feels like Bowie is still finding his footing as an artist, with the songs feeling generally lacking in the grand conceptual themes and experimental musical elements that Bowie delves head first in from Ziggy Stardust onwards. There is also an obvious sense of Bowie trying to imitate his idols on this record. There are tracks titled Song for Bob Dylan and Andy Warhol, and Queen Bitch is just straight up Lou Reed worship. These tracks lean far to much on trying to sound like the artists in question, rather than being their own thing. Some of the other tracks deeper into the record just sort of breeze by without much impact on me. They're sweet and cute little ditties, but just lack that weight and importance that the first four tracks (and Bowie's future records) do.

There are a couple of real hidden gems in the record though. Quicksand is a slow stripped back ballad which builds in intensity through each chorus, sounding very bare and emotive; as does the closer The Belway Brothers. This track is mainly just an acoustic guitar and Bowie's vocals, but the guitar tone and Bowie's performance turn it into something sounding much larger and dramatic. The hints of reverby trumpets that crop up here and there make it seem so spooky and somewhat sinister.

Hunky Dory has some absolute classics on it, but the record as a whole feels breezy and easy on the ears. It's not a record I feel I can sink into and explore like some of Bowie's later works (yes I will get to them - Spoiler: Station To Station is particularly phenomenal), and the reliance on tributing his idols mean's it doesn't really have a strong identity compared to what would come immediately after.

Top Tracks: Changes, Oh! You Pretty Things, Eight Line Poem, Life on Mars?, Quicksand, The Belway Brothers

7/10

David Bowie - "Aladdin Sane" (1973)

Aladdin Sane sits in a slightly weird position in David Bowie's discography, as somewhat of a sequel to his break-out The Rise and Fall of Ziggy Stardust and the Spiders from Mars, but also kind of not. The titular character was originally pitched by Bowie as someone different to Ziggy, but is a lot less defined, and Bowie continued to tour as Ziggy for the live shows of this era, which has led this record to be viewed as somewhat of an extension of Ziggy (or Ziggy goes to America, in the words of Bowie himself).

Despite not having a linear narrative (or mentioning Ziggy once), Ziggy goes to America is exactly what this album is about. Ziggy Stardust was an album about the best a rockstar could be, literally saving the world through 'peace, love and rock'n'roll'. Aladdin Sane is about the worst: the sex, the drugs, the vanity. It was written on the American leg of the Ziggy Stardust tour, about what Bowie experienced there, and references many American places. The music is also jacked up to have a hard rock edge, inspired by the likes of The Rolling Stones; partly to appeal more to an American audience, partly to reflect the darker and more dangerous lyrical content of the record.

This is evidently demonstrated in the record's lead single (and one of Bowie's most famous tunes), The Jean Genie. This swaggering, cock-rock riff provides backing to the description of the person/creature/thing that the Jean Genie is. Bowie's tongue slithers around the lyrics, describing the Genie's appetite for razors and that he steals dead hair to make underwear. There's something so off-putting about this character, yet combined with the ear-wormy riff makes it so irresistible and captivating. Cracked Actor, similarly, has really overt and graphic references to cocaine, sex and prostitutes; with Bowie singing in this narcissistic snarl over roaring guitars. The track has some really tragic undertones as well with lines such as "show me you're real" and "please stay, please stay". It's as if the character Bowie is playing (or Bowie himself, it's hard to tell) has lost all feeling, and is sustaining themselves on the small amounts of dopamine that the drugs and sex give them.

Not everything on the record has the loud, swaggering rock aesthetic. There are a few slower, piano led tunes which are among the most reserved and artiest on the album. The title track introduces the character of Aladdin Sane to represent the glamour and high society of the rockstar lifestyle: the fancy hotels, the all-night parties, the adoring fans. The twinkly piano notes and gentle guitars make the track feel equally glamourous, but the song slowly descends into this hypnotic madness, climaxing in an avant-garde jazz piano solo performed by Mike Garson. It cleverly conveys the idea that this kind of egotistical lifestyle will send someone insane. The track Time personifies the concept of time as the ultimate nemesis to the rockstar-gods Bowie is describing on the record. They may think they're invincible, but time will always take everything away in the end. They will grow old and lose their sex appeal, the drugs will degrade their physical and mental health, the fans will move on to someone new. The stomping piano chords give the song a very pantomime villain vibe, alongside Bowie's overly dramatic and expressive vocals. The closer, Lady Grinning Soul, is the last of these piano tracks, and has similar moody, dramatic atmosphere to the title track. Bowie croons over the twinkly piano notes and acoustic guitar, and the way his voice builds up in intensity towards the end gives off a very bond-theme vibe to close out the album.

Unfortunately, not everything on the album works as well as these tracks. The opener, Watch That Man, is very inspired by The Rolling Stones. This track, alongside a cover of Let's Spend the Night Together, almost feels like Bowie is trying to outdo the Stones at what they do best and it just feels a bit over the top. Drive-In Saturday is inspired by 50s doo-wop, but glammed up a bit. The song has a much more whimsical nature than the rest of the record, telling the story of a post nuclear world where people have forgotten how to make love and have to relearn by watching old romantic films. While I enjoy the lyrical content of the song, the style it is paying homage to is just not something I'm all that fussed about. The Prettiest Star is also in this kind of style, but lacks Drive-In Saturday's engaging story, and so is easily the least interesting track here.

These tracks are no where near bad, they just don't quite work for me the same way the rest of the album does. I also think the album's legacy being so closely tied to The Rise and Fall of Ziggy Stardust and the Spiders from Mars does it no favours, as they are very different beasts when you get to know them. Aladdin Sane is dramatic and experimental, where Ziggy is whimsical and comforting. But on it's own merits, Aladdin Sane is a wonderful, if slightly inconsistent album.

Top Tracks: Aladdin Sane, Panic In Detroit, Cracked Actor, Time, The Jean Genie, Lady Grinning Soul

8/10

Coldplay - "Parachutes" (2000)

Coldplay's debut record, Parachutes, turns 20 today (well the day I started writing this), and is an album dear to my heart despite the general consensus that it is fairly derivative of the likes of Radiohead and U2 and not even the most 'definitive' Coldplay record. There's just something I find so entrancing by the tone and atmosphere of the record, and the songwriting on here is top notch even if it is entirely straightforward and conventional.

Parachutes is one of those records that seems to work in almost any context for me. It's moody and emotional, yet its also joyous and hopeful. Its gentle and deep, but also light and summery. It works equally well on long summer evening as a cold, damp winter night. I can put it on to relax to, be uplifted by, or contemplate with. Each of the ten tracks have a darkness to them, yet they all are spun in such a way that there's always a point of hope in them. It's so incredibly cathartic and versatile. I also find the straightforwardness of the record one of its biggest strengths, maintaining this moody yet warm acoustic rock throughout with only a slight ebb and flow of more energetic electric moments. It is also a trim 41 minutes with absolutely no filler.

The record opens with the incredibly moody and existential Don't Panic. The track is just over 2 minutes and features pretty apocalyptic lyrics which I have always took to be about climate change, but like the majority of Chris Martin's lyrics (especially in the early days of Coldplay) they are general but emotive enough that they don't have to be. It gives Don't Panic, and the rest of the songs on Parachutes, so much more strength than some of the other emotional soft rock bands from the 2000's. The track, also like a lot on here, spins itself on its head in the last verse; in this case Martin sings about how everybody has someone to lean on and we can make it through together.

Following this is Shiver, which is my favourite Coldplay song across their entire discography. The track starts off very reserved and gentle, before exploding into the first chorus. Martin's lyrics about an unrequited love are so apologetically earnest yet pure and wholesome. There's no tragic angst or self loathing like in something like Radiohead's Creep, and the way the electric guitar wails at the end alongside Martin's howls that he will wait for this person, and wait for them to notice him, just really hits the mark for me. It's just one of those songs.

It is also as about as heavy as the album gets, after this point settling back into the acoustic groove with the electric guitars only really used sparingly for texture more than melody. Spies is just as paranoid as Don't Panic, although it is a more drawn out song which allows you to fall into its eery nature. It also flips itself over and picks its self up towards the end. Sparks is such a gentle piano led track, where Martin refers to 'seeing sparks' as a real special connection with the person this song is written about. He addresses past mistakes that have hurt this person, and how he wants to make things better because of how special this connection is. I remember putting it on a few years ago, as it was snowing at night outside my window. It has that warm gentle atmosphere.

There are two other piano led songs on the record, Trouble, and the closer, Everything's Not Lost. Trouble is perhaps the most downtrodden song on the record, as it lacks the positive spin that the rest of the tracks have in their closing moments. The simple piano riff sets the darker tone as Martin alludes to being caught in traps and spider's webs that he can't get out of, and that he didn't mean to cause anyone else trouble. Apparently the song is just an apology to the rest of the band about his sometimes controlling nature in the studio, but it feels much darker and more serious than that. It anchors the album in a way, showing that sometimes you can't just say "things will get better" to every problem you face. Everything's Not Lost is the opposite, and sets the blueprint for the big optimistic climax moment in most future Coldplay albums. Unlike some of those future efforts it remains very sweet and genuine with the focus remaining on Martin's vocals and the uplifting piano notes. None of the overblown production and multi-tracked choral vocals that make something like Up&Up feel pretty tacky. There is a hidden song titled Life Is For Living at the end of Everything's Not Lost and it is a nice little ditty which feels like an appropriate coda for the track and the record as a whole.

In between Trouble and Everything's Not Lost, the record becomes its most mellow and malaise like. The Title track is 45 seconds of acoustic summery bliss, and High Speed feels like speeding along in a convertible on a hot summers day. The distant atmospheric swells of electric guitar gives the song a more driving pace, despite the song being one of the most carefree on the record. This is followed p by We Never Change, a super slow and reserved song where Martin details his desire for a simple life living with his friends, free of life's troubles, but acknowledges that some things will never change, and there will always be new challenges to face.

The only song I have yet to mention is the band's breakout, global smash single, Yellow. That's because you've definitely already heard it 1000 times. Yes it is overplayed, and yes if you think about the lyrics too much it starts to feel like nonsense. But you can really feel the emotion in Martin's voice and can't help but be moved by it, and it feels far more genuine and less calculated than some of the band's future emotional singalong anthems.

Parachutes is just one of those records for me. I acknowledge that it doesn't do anything all that interesting or unique from the grand objective view of the history of rock, and that the band's follow up, A Rush Of Blood To The Head, has a more unique identity. However every single moment on the album just works for me, I can enjoy every single second of it when I'm in a variety of moods.

Top Tracks: Don't Panic, Shiver, Spies, Sparks, Yellow, Trouble, Parachutes, High Speed, We Never Change, Everything's Not Lost

10/10

Circa Waves - "What's That Left Over There?" (2019)

Following the band's rather underwhelming third album earlier this year, they have dropped this EP consisting of two tracks which didn't make the record and alternate versions of two tracks which did, The Way We Say Goodbye and Times Won't Change Me.

These new versions are stripped back tracks, with The Way We Say Goodbye being piano-led and Times Won't Change Me being played on an acoustic guitar. Without all the extra instrumentation and production, The Way We Say Goodbye comes across even more bland and formulaic. The swap from piano to acoustic guitar on Times Won't Change Me does make the track feel a little more rough and raw, however the track still retains its complete lack of any lyrical substance, which is what turned me off it originally.

The two new tracks however, are pretty good. Something More is this new wave style song with emotion but understated vocals. The drum machine and early-80s sounding synths give it a real throwback vibe. Hunters is a folky acoustic tune, which also sounds very restrained. These songs don't feel forced, or lacking in any lyrical substance, like much of the album. I'm surprised that they didn't make the album to be honest, since it was so short anyway.

This EP has restored a bit of my faith in the band, showing that they can still write a decent tune. Hopefully album 4 matches their usual quality.

Top Tracks: Something More, Hunters

6/10

Circa Waves - "What's It Like Over There?" (2019)

Circa Waves' 2017 sophomore album, Different Creatures, was a great development from their debut. It added darker and heavier elements to their youthful indie rock sound, creating a more sonically diverse album that still retained its blistering energy. So when frontman Keiran Shudall started talking about how the next album would be even more visceral and cinematic, I was exited. Unfortunately, it's not very cinematic, just underwritten, overproduced and sonically all over the place.

The album is short, 30 minutes long, with only 10 tracks. One of which, the title track, is only a intro track to the album. This track is literally the sound of some gulls and a van door closing, which I find frankly bizarre as it doesn't feel like it connects to the actual first track at all. So there's actually 9 proper tracks, in a 30 minute timespan which cover completely different styles. There's no flow or running thread throughout the album, just a bunch of vastly disparate songs.

And the songs, they aren't great. The actual first track, Sorry I'm Yours, sets the album off on a bad foot with typical Imagine Dragons style overblown bass and percussion during the chorus. It is such a turn off for me. Then follows Times Wont Change Me, a stomping piano rock tune that does initially have some bite. That is until about 50 seconds in when Keiran has sung the line 'these times wont change me now' about 4 times already and you realise hes going to sing it about 400 more times before the song finishes. That's a big problem that runs through much of the album, most of the songs feel really underwritten. The verses don't seem to have much detail or depth, and the choruses are just the song titles repeated 4 times over. Me Myself And Hollywood has this problem as well. The track has these really chilled verses with this lackadaisical Arctic Monkeys Humbug style guitar. But the title is legitimately the title repeated 4 times. What does 'me myself and Hollywood' even mean? Be Somebody Good is perhaps strangest mess on the whole album. It opens with a really nice angst ridden opening verse that's set to programmed drums and it builds in intensity until the chorus hits, which consists of Keiran singing 'I wanna be somebody good' over and over against the returning overblown pop-rock drums and bass. There is a really nice sounding guitar solo at the end of the track, but it really comes out of nowhere and is over in 6 seconds, so feels really out of place. The Way We Say Goodbye and Motorcade are more consistent sounding songs, but are rather underwhelming attempts at their respective genres (the former being mid-2000s soft rock akin to Coldplay and Snow Patrol, and the latter being a more electronic rock leaning sound). The best the album has to offer is lead single Movies and the closer Saviour. Movies is a pretty standard Circa Waves song, with their trademark youthful energy. Savour is the bands attempt at blues rock and definitely feels like the loosest song on the album, and also seems the most poignant, with lyrics about class divisions.

It's strange after the political songwriting on Different Creatures that this album is so devoid of it. Apparently Keiran was fighting writers block when creating this album, and you can definitely tell with all the repeated phrases and the fact these songs don't really appear to be about much beyond their vague pontificating. The frustrating thing is that there is something I like about every song on this record; I like Keiran's performance of chorus on Sorry I'm Yours, I like the backing vocals and production on Passport, I like the general aesthetic of Me Myself and Hollywood. But they're all assembled into these hodgepodge, clunky songs. If they were struggling to write something meaningful, maybe the band should've taken a break for a bit instead of heading right into the studio.

Top Track: Movies, Saviour

4/10