Talking Heads - Talking Heads '77

The first album by the Talking Heads and a sound they never actually repeated.

Uh-Oh, Love Comes to Town
New Feeling
Tentative Decisions
Happy Day
Who Is It?
No Compassion
The Book I Read
Don't Worry About the Government
First Week/Last Week... Carefree
Psycho Killer
Pulled Up


Cecily's Review

Personal Background: First heard this as a teenager, listened to it together with my Dad on his recommendation. Instant hit.

Resonance: Well, there just isn’t much emotional resonance to be had within the headspace of David Byrne – although I defy anyone to listen to ‘Uh Oh, Love Comes to Town’ without grinning. Also, it’s fun to hear him get progressively crazier as the album goes. The album certainly does have a unique sound. It’s bouncy and cute, at times almost bubblegummy, yet wound so tight you’re just waiting for Byrne to have a complete flake-out in the studio. The lyrics are a fairly hysterical (in both senses) bunch, with ‘No Compassion’ being my personal favorite: “Go talk to your analyst, isn’t that what they’re paid for?” 3/5

Design: Even after so many listens, it’s all kind of one song to me, each track fitted perfectly to the end of the previous one. It helps that the sound is so spare and clean, the band so tight and the mood so focused on Byrne’s (hopefully exaggerated) neuroses. I fell so hard for this specific purity of sound that I couldn’t quite bear the thought of their later work and whenever I heard ‘Once in a Lifetime’ or ‘Burning Down the House’ on the radio I always thought “it’s too cluttered, why did they add in all that stuff.” These days I'm more open to exploring their later work - we'll see how that takes me. This however is a perfect record within its small scope. 5/5

Utility: Plays great on awful stereos, enjoyable while driving or doing housework and yet it still amply rewards a close listen. I can even picture playing it with certain types of company over, since – for such a strange band - the Talking Heads did become inexplicably popular. 4/5

Best Track: No Compassion (I always hear a bit of Roxy Music in this one); The Book I Read; Uh-oh, Love Comes to Town.

Worst Track:

Verdict: 12/15. Well worth keeping.

Ticharu's Review

Personal Background: I bought Talking Heads: 77 shortly after its release in September 1977. It instantly became one of my favourite records. Becoming aware of new music before my friends was always a bit of a contest. I scored with this one.

Resonance: This scores very high both emotionally and intellectually. Byrne's lyrics instantly make you feel you are in the know in the same way Bowie's lyrics could make you feel part of something, the outsider looking in, you "get it" when no one else does. That's very powerful stuff. Lines like "If you are really smart you'll know what to do" and "Believe, I believe in mystery" speaking directly to the teenager who feels a bit isolated. Like me, my world view, my opinions heavily informed by the music I listened to. David Byrne played to that. Besides that these guys were funky! The guitar work was clever, woven and intricate. Top it all off with vocal acrobatics pushing an avant-garde jazz aesthetic. I absolutely loved this album. 5/5

Design: The production? There are elements like the slide guitar in No Compassion which sound like Eno already had a hand in it. First Week Last Week Carefree which sounds totally Bowie and in the same song when the voice recedes slightly in the mix for the instrumental break. Masterfully done. They really didn't need Eno. 5/5

Utility: It keeps giving. Of course I couldn't listen to it these days like I did back then. Listening just now, it not only held up through the years but continues to resonate and surprise. Tracks like "Don't Worry About the Government" and "Pulled Up" border on genius. The first Talking Heads album is a masterpiece. 5/5

Best: Uh-Oh, Love Comes to Town, New Feeling, Who Is It, No Compassion, Don't Worry About the Government, First Week Last Week Carefree, Pulled Up

Worst: Tentative Decisions, Psycho Killer

Conclusion: Even the weak tracks are really good. 15/15

Grateful Dead – American Beauty (1970)

The fifth studio album by the Grateful Dead and a major commercial success, hitting #30 on the Billboard charts and doing their best to incorporate Crosby, Stills & Nash into their country-rock sound, mellowing out considerably in the process.

1. "Box of Rain" - 5:18
2. "Friend of the Devil" - 3:24
3. "Sugar Magnolia" - 3:19
4. "Operator" - 2:25
5. "Candyman" - 6:14

6. "Ripple" - 4:09
7. "Brokedown Palace" - 4:09
8. "Till the Morning Comes" - 3:08
9. "Attics of My Life" - 5:12
10. "Truckin'" - 5:03

Cecily's Review

Personal Background: I used to listen to Slacker radio - anyone remember them? I added all kinds of bands I wasn't familiar with and it did a good job giving me a feel for their work. Anyway, one day it played 'Box of Rain' by the Grateful Dead and I was transported. Went to Amazon, bought this CD on the strength of one track.

Resonance: There's some good stuff here but none of it matches up to the opening track, 'Box of Rain.' Warm and wistful with a simple piano riff driving the song, this is my favorite of all their works and I doubt it will ever be replaced. Somehow it just sticks with me and all my cares fall away until its closing notes. What is it about this song? Just some illusive magic tailored to my brain waves, because I can't explain it. As for the other songs, 'Candyman' is stark and creepy, probably due to the sickly-sweet delivery. It takes a REAL psychopath to sing like that, am I right? The ramblin' country ballads are hit or miss. The pseudo-philosophy of the lyrics (check out 'Ripple') and snatches of folk melodies in the midst of their hippie constructs have a soothing quality, sunny and untroubled. When I'm not in the mood (and to be honest the mood rarely stays alive for the duration of the album) it starts to feel really inadequate. At its best, American Beauty is very nice. There's still room in the world for nice records, isn't there? 3/5

Design: The Grateful Dead do not interest me very much. Mostly they sound like a house band that somehow made good. The singers aren't interesting, the songwriting is just okay, the musicianship is average to my ears and yet there's this giant cult around them. Never understood it. This album gets off to a beautiful start but it doesn't really go anywhere from there, meandering its way to 'Truckin.' This is a common problem with albums that put their best song first. 3/5

Utility: This one works best with housework or maybe an art project. Completely inoffensive, no wonder it was such a big hit. Boring on the road - yes, even 'Truckin.' I would much rather hear 'The Passenger' or 'Turn the Page.' 3/5

Conclusion: 9/15. Completely middle of the road. Just squeaks into the collection. Workingman's Dead and Aoxomoxoa had better start praying for 9s because I think I just found my lower limit on this rating scale.

Best: Box of Rain.

Worst: Attics of My Life is the definition of soporific. I think they were going for heavenly. Sorry dudes.

See Also: According to this guy, the cult leader of the Deadheads was not the band but the drugs. What a surprise. https://classicsdujour.com/explaining-grateful-dead/

Ticharu's Review

Personal Background: I routinely write bands off before ever giving them a proper listen. That's what I did with The Grateful Dead. When they released Terrapin Station I thought the album was terribly commercial, sub-par and not of the moment. I had Blues For Allah in my collection but had only listened to it once. With the advent of punk rock, all the old hippy music had to go, most of it anyway. The Grateful Dead joined the bin where I put the rest of the unwanted and unloved. However, I was aware all through the 80s and 90s that Deadheads were the people to know if you wanted quality psychedelics. I knew a few. Why were they so into this band? I could never get a "straight" answer.

Resonance: During a fit of nostalgia early in the 2000s I ran across the American Beauty CD at Cheapo's (Lake Street, Uptown) and included it in the weekly haul. B wasn't entertaining the prospect of listening to this with me so I listened on my own in my little basement room and was completely transported. I liked hippies a lot. They were colourful when the world was still black n white. They loved everybody except "the man" who was always trying to hold them down. So yes, the emotional resonance was quite strong with me (feel the resonance) but for the intellectual resonance I will need to listen to this again. Fortunately, I've got the MP3s... but since my ears are completely hatched from so many years of abuse I will not be listening on headphones so must wait with the rest of this "review" until I can play the files on speakers.
  After listening to this just now I kind of think I may have only listened to the full CD that one time on my own. Maybe I just played the handful of outstanding tracks once or twice after that. For what it's worth, my observations on why I like this band... They have a unique sound, that being their voices, no one else sounds like The Grateful Dead. Their voices are dry and sometimes strained. They sound old and world weary and manage to make their hippy themes sound like the themes of ancient cowboys, the revels and strange concerns of travellers eons past. The way they play is never amazing, never edgy, just consistent and filled with improv. I'd score this 5/5 for resonance but that's not to say every song speaks to me.

Design: For me this album could have been combined with Workingman's Dead, the best of both and you'd have one very strong record. Or, better yet, some longer jams on the best tracks here and dump most of side two. That would have been really good but probably wouldn't have sold as well. 3/5

Utility: Seeing as I don't really like half of this album, the utility score fails. 1/5

Conclusion: 9/15

Best: Box of Rain, Operator, Candyman and Truckin' (these aren't just good songs, these songs border on the sublime)

Worst: Attics of My Life and side two generally except for Truckin'.

Mojo Magazine - Black Mountain Sides (2018)

A Mojo Magazine CD, sampling the modern British folk tradition.

01  Bert Jansch - Brought With The Rain
02  Ryley Walker - On The Banks Of The Old Kishwaukee
03  Jake Xerxes Fussell - Have You Ever Seen Peaches Growing On A Sweet Potato Vine?
04  Nathan Salsburg - Sketch From Life
05  Jack Rose - Kensington Blues
06  Michael Chapman - Memphis In Winter
07  Marisa Anderson - Cloud Corner
08  Steve Gunn - Old Strange
09  John Hulburt - After The Storm
10  Daniel Bachman - Wine And Peanuts
11  Roy Harper - Time Is Temporary
12  Gwenifer Raymond - Sometimes There's Blood
13  Chuck Jackson - Ransom Street Blues
14  Cian Nugent And The Cosmos - Hire Purchase
15  75 Dollar Bill - I'm Not Trying To Wake Up

Cecily's Review

Personal Background: I used to have a big stack of Mojo magazines but unfortunately had to leave them behind during a hectic move. Now the December 2018 issue (301) is the start of my new collection and it came with a CD! I almost never got the CDs and I'm kind of surprised they still make them. In this case, the genre is one I care about and since my theory is that the modern folk revival is the only healthy musical theater left in the west, let's see if this sampling upholds my belief...

Resonance: Unlike indie music, people on the folk scene are still expected to play their guitar fluently and sing clearly, even though we're supposed to be above all that. Thankfully, Mojo respected the genre well enough not to force a bunch of “re-inventions” on their public – while there is some psychedelic and electronic influence, the great majority of these songs have the proper spirit in that they may be modern, but they are NOT contemporary (there's one exception). I listened to this CD and felt good almost the whole way. It’s refreshing and restful, a direct line to simpler times with no sell-by date. 4/5

Design: The selections are mostly contemporary, with a few old recordings by Bert Jansch and the like thrown in to give it some historical grounding. Although ‘Memphis in Winter’ is a deeply American dirge, almost every artist included appears to have likely heritage from the Isles, giving the assemblage a great unity of soul only spoiled by the last track: ‘I’m Not Trying to Wake Up,’ a 15-minute (!) blues drone by a multicultural New York duo taking their influence from Gnawan (!!) folk music. Wrong time, wrong place, dudes. It doesn’t fit the established spirit and only goes to show that British folk and blues is not interchangeable with anyone else's. So just turn it off when you ARE ready to wake up. 3/5

Utility: A lot of people like modern folk/indie music and leave the radio or Alexa on that type of station almost by default. It's quiet, soothing and fades in or out by mental will. Good for guests but especially for a quiet day at home – not so good in the car. 4/5


Best: On the Banks of the Old Kishwaukee; Have You Ever Seen Peaches Growing on a Sweet Potato Vine?

Worst: I’m Not Trying to Wake Up.

Verdict: 11/15. It’s certainly worth keeping on the CD shelves. Also, as a paper sleeve it takes up next to no room, helping to make up for all those opera boxes that are incoming…

Ticharu's Review

Personal Experience: I was initially interested in this compilation because I recognised a couple names. Roy Harper and Bert Jansch. I also ran across the extraordinary guitar skills of Gwenifer Raymond through Facebook so my expectation was that I might like a few of these tracks. Surprised that I actually liked most of it. The last few years I've been more and more drawn to the open chord finger pick style. This CD bristles with fine examples, the medium is alive and well.

Resonance: OK, so it doesn't transport me necessarily. Compilation CDs are difficult that way unless it's all music of the thirties or some such. The musicianship is to a high standard and some of it is exceptional 3/5

Design: I address the design under utility but it's basically mission accomplished Mojo Magazine. 4/5

Utility: Listenable as a compilation, that's a feat for modern music, only a couple of tracks I'd skip regularly or just delete. Otherwise as designed, a fine introduction to some worthy artists and great guitarists. Mojo scores. 4/5

Best: "Old Strange" by Steve Gunn -- Of all the wonderful material on this compilation, instantly drawn to this one. Gwenifer Raymond is impressive as well, I mean, anyone who can pick up a guitar and do that. Yes! And what do you know, I really like the 75 Dollar Bill track. It's a jam. I like jams. Not folky at all and it doesn't fit the compilation at all but a great track none the less if somewhat over-long.

Worst: I skipped the Roy Harper and couldn't hang with Michael Chapman either so I guess for me, those are least interesting tracks on the CD.

Conclusion: 11/15. These Mojo discs are generally pretty interesting and they do turn up in charity shops from time to time and people sell them online as well. If you collect them, I can easily recommend this one. What are we listening to next Cecily?

Blondie - Parallel Lines (1978)

Blondie's stateside breakthrough and the transition as they left the new wave behind for greener pastures. To the majority of people this is their essential and quintessential album. Awful cover though.

Hanging on the Telephone
One Way or Another
Picture This
Fade Away and Radiate
Pretty Baby
I Know But I Don't Know
11:59 
Will Anything Happen
Sunday Girl
Heart of Glass
I'm Gonna Love You Too
Just Go Away

Recorded during the summer of 1978
at the Record Plant in New York City
Released in September the same year
Reached No. 1 in the UK, No. 6 in the US
Produced by Mike Chapman
Robert Fripp makes an appearance on the song "Fade Away and Radiate"

Cecily's Review

Personal Background: Bought this as the "ultimate Blondie experience" and found it pleasant but it wasn't until I had the chance to play it on speakers later that I really fell in love with it.

Resonance: It's rare but it does happen. Most of these tracks are just showbiz, danceable ('Heart of Glass'), adorable ('Sunday Girl'), sing-alongable ('One Way Or Another'). Entertaining enough, but every now and then Debbie Harry taps into something with a little more desperation and staying power, most notably on 'Picture This' and '11:59.' It is lightweight, but still, the positive feeling this music evokes is always good for a bad day. 2/5

Design: Letting the band members sing when you have Debbie Harry around is a mistake and leads to the worst track on the album ('I Know but I Don’t Know'). A bunch of goons crashing the party, that’s what that song sounds like. Other than that, it's a solid pop record, no missteps. A strong one-two punch for the opening, one modest epic (the crooning, starry Monroe tribute 'Fade Away and Radiate') to give the band something substantial, one of the better disco hits, a Buddy Holly cover and to wrap up... Well, 'Just Go Away' doesn't really feel like a closing number, and it isn't one of the strongest cuts so... 3/5

Utility: I already know this gets the highest points in this category. Car, company, kids, work, home – no problems. About the only thing this album can’t do is the “sit and brood” mode. 5/5.

Conclusion: 10/15. I am very happy to keep this CD.

Best: Picture This; Sunday Girl.

Worst: I Know But I Don't Know.

Ticharu's Review

Personal Background: I bought this album when it came out. It was a party record, everyone loved Heart of Glass and I needed a record my girlfriend would like and I could tolerate. Ultimately I disliked everything about this album including the artwork but most of all the song writing. OK, and the musicianship, the singer and especially the production.

Resonance: Admittedly I can't listen to this album now. The best I was able to do was sample some of the tracks for a review I wrote for 365 Record Albums. I've heard bits because other people were playing the album over the years. It always brings me back to being 18 years old so I guess that qualifies as emotional resonance. Not a particularly good emotion however and since I can't derive any intellectual resonance from the songs on this album I'll have to score this 0/5 but that doesn't mean I'm a miserable person :)

Design: For me the design of this album worked a treat. It made Blondie popular and my girlfriend loved it and all my friends loved it. Cecily loves it. Great. 5/5

Utility: Only as an instrument of torture... seriously, I am not a miserable person! 0/5

Best: I'm Gonna Love You Too

Worst: Heart of Glass

Conclusion: Wouldn't touch it with a barge pole.