When I first read about this album in the Rolling Stones Best Albums of All Time, I was skeptical. Stevie Wonder for me, then, was just ‘Sir Duke’ and ‘I Just Called to Say I Love You’. I didn’t know the depth with which Wonder crafts albums. Innervisions is a wonderful insight into the views of one of the original musical iconoclasts.
Wonder, who was previously more than content to allow his lyrics—both bitter and sweet—to apply to simple love scenarios, had discovered a desire to tap into a larger reserve of collective emotion: in this case, the disenfranchised rage of America’s Nixon era. Slant Magazine
The first half of the album has been described as ‘high stakes’ quite rightly. There is a perceptible rage and agony. One jumps between anger (Living in the City) to love, loss and resurrection of hope (Golden Lady). Wonder is starkly honest about his own remonstrances and conveys them with startling musical integrity.
The second half is more reassuring, staying with the theme of love but in a more hopeful tone. The embedded video below is an example of the spirited response to the first half of the album. Innervisions ends with the exceptional ‘Mr Know It All’ which is impossible not to dance to. It trails off at the end, allowing us to wallow in the enormity of what we have just heard.
“Living For The City” is the album’s centerpiece, and remains one of the only moments in Wonder’s career as a politically-minded pop star where he allows himself to come face to face with utter pessimism and caves in to it wholesale. Slant Magazine
Overall, this album has nothing but highlights for me. Not only is it vocally astounding, it is honest and boasts one of the best efforts at sequencing I’ve ever seen. Sequencing is the order in which songs are placed in an album and Stevie Wonder has done a phenomenal job here. One could dedicate many thousands of words to the magnitude of excellence contained in Innvervisions, but I’ll stop short at 300. Have a listen for yourself and enjoy it’s brilliance.
Whether he’s evoking Joy Division’s Ian Curtis or Bauhaus’ Peter Murphy, Maus opts to abstract the genre, inserting noise into unexpected places and walking the line between sincerity and surreality. Pitchfork
From the first time I heard this album I was hooked. Listening to it on one commute to university, I cannot but recognise its magnitude. As one ought to know by now, my albums of choice are numinous. There is something great about this album. The wonderful sweeping soundscapes which Maus creates are flabbergasting and thoroughly affecting.
Maus has a full set of songs whose architecture is just as sophisticated and riveting in actuality as it is in theory. Pitchfork
Hey Moon is described as a lilting lullaby. I think it is necessary in this otherwise ominous album to have such a piece. The beautiful synth in the background as well as the track’s slow pace help one to breath again after being overwhelmed. Personally, I would say Cop Killer is my favourite track. This encapsulates what Maus is capable of producing. Cop Killer is the kind of track which necessitates dropping your phone and just listening. Ride the wave of sound, if you can. There’s something special here.
“a lo-fi synth pop masterpiece that manages to give endless aural delights while still being intellectually engaging, and despite having been caught at the center of a whirlpool of current movements, all of which reflect some aspect of Maus’ style, he has only cemented his identity as a singular, unimpeachable figure. When confronted with music like this, it’s impossible not to be a believer. Tiny Mix Tapes“
Overall, from Streetlight to Believer; this album is a sensation. Each track is unique and devastating in its scope. Perhaps Matter of Fact is an exception to the latter statement. But in a way even this profanity is necessary to bring us back to Earth and readies us for the momentous tracks which follow. I am elated to be able to recommend this album to you. Truly, there is something important about it. I hope you’ll agree.
I’ll let you into a secret. I had already chosen AOTM for February quite early on. However, one fateful night, in the midst of a pristine carbonara with a less than interesting dinner opponent, this album occurred to me. The album title is apposite for this month of strenuously fake commercialised sentiment.
My attention was drawn from the decidedly underwhelming company, to the masterful regality of this colourful album. What vocality; what depth of sound and excellent instrumentality. Scritti Politti, originally heralding from Leeds, created something truly special in their second album.
It remains the band’s most successful album, reaching number five in the UK, and was certified gold by the BPI for 100,000 copies sold. The album contained five singles, three of which were top 20 hits in the UK.
Having read Thomas Dolby’s startling memoir ‘The Speed of Sound’, I am awake to the immense influence of the Fairlight CMI synthesizer. It is used marvellously throughout the album, helping to create stunning soundscapes, as can be heard below.
The album from which “Perfect Way” emerged, Cupid & Psyche 85, combines feather-light, MTV-friendly vocals with R&B, funk, reggae, and state-of-the-art synthesizer programming. ConsequenceofSound
The track which keeps haunting my consciousness is ‘Small Talk’. Reportedly recorded in one afternoon, it is littered with excellent melodies and prickling poignant lyrics. The pace and effortless musicality add to it, making it a tremendous success for me.
Another stand out for me is ‘Don’t Work That Hard’, a sentiment with which I wholeheartedly agree. I added it to my ‘Almost Top Ten’ playlist.
Not content to just be a collection of au courant sounds and lush vocals, Cupid & Psyche 85 uses Gartside’s interest in Marxism and deconstructionist theory to subvert the blissful, accessible pop with ideas about language, work, and capitalism. ConsequenceofSound
Overall, Cupid & Psyche 85 is a work of astounding musical value. It is suitable for a wicked party or as background to a leisurely chat about emotional trauma. The musical excellence of this album is not confined to a certain discernment or taste, it is for everyone. But unlike most chain restaurants, this crowd pleaser is of very high quality. Have a listen to it if you have time. You won’t regret it.
As hardly any of you know, I spent my holiday period in Newcastle. Hence my intake of new music was accelerated, as is frequently the case, by proximity to my father, Paul. Nonetheless Anatomical Venus was my own discovery. And to see it here, bestowed with the coveted Album of the Month, is an achievement. You have no idea how much groundbreaking music I was introduced to over my ten days in the North. But Black Moth was an album to which I consistently returned.
Dark, melodic, powerful and above all, furious, the latest record from Black Moth totally rips, and presents a cohesive narrative that explores feminist themes.
Anatomical Venus, the title, is inspired by wax models, a perfect image to sum up the objectification and de-humanisation that much of the lyrics deal with. New Noise
This album is undeniably powerful. New Noise are right to highlight their favourite track as Sisters of Stone. The powerful title is supported by an equally potent track.
Considering it was written over a year ago, it felt very timely releasing this on the centenary of Votes For Women, and with the wave of female empowerment around #metoo/#timesup campaigns. LouderSounds
I have to say, listening to it for the second time today, I am shocked at the consistency of the harmonies as well as the pace of this album overall. To think these guys are from Leeds, a town close to my heart. The album is so cohesive and large. I’m a great fan of enormity in music and the scale of this album is just that.
Pig Man is another highlight for me. It speaks, weirdly, about Satanic farmhands in New Haven who would fornicate with pigs in the hope of creating devilish offspring and bring the devil to Earth. How wonderfully morbid and mislead. Had they been privy to the anatomical venus equivalent of a pig, perhaps they wouldn’t have put all the effort in!
In any case, this album is really very good. I hope you enjoy it and dance to it as much as I did!
Goodness me what a year it has been musically. You’ll be pleased to know that I picked this all the way back in February. I have made a point of listening to a new album each and every day. Out of everything I have heard this year, one album has retained the top spot. And, as you saw from the previous post, Kimono My House had stiff competition.
Arguably one of Sparks’ best albums, 1974’s Kimono My House finds the brothers Mael (Ron wrote most the songs and played keyboards, while Russell was the singing frontman) ingeniously playing their guitar- and keyboard-heavy pop mix on 12 consistently fine tracks. Allmusic
Russell’s voice is heavenly. Indeed in Here In Heaven one can immediately hear the frightening range of his vocal chords. In an interview for the BBC, Russell joked that he sang so high because his brother composed mainly with his right hand on the piano. He went on to say if Ron’s hand were run over by a truck, you’d hear a much different Sparks sound. This album is full of great tracks. One after the other they hit you with a wonderful floury of keyboard and outrageous vocals. Thank God it’s Not Christmas once made me cry. Have a listen for yourselves:
I asked one of my closest friends, Emily, to listen to it. She described it as “anxious”. I can see where she might get this impression. The pace of the album is fast. There aren’t really any songs which slow you down. You head all the way to oblivion without stopping.
Overall, I cannot choose a track which moved me most. Each and every one has its own individual spark, as it were. This album is important. Arguably, it is Sparks’ best. Their first album, produced by Todd Rundgren, is a close second. Fletcher Honorma is in my top 10 tracks of all time. But but but Kimono My House just knocks the ball out of the park. The innovation; splendour and cohesion of this album overall puts it above all the albums I have heard this year.
Let me know what you think. I am so looking forward to another year of marvellous music.
Over the course of this year, I’ve been frustrated many times on account of the AOTM section in Cedric Suggests. Sometimes, it was such a close call between albums, one taking the lead on account of minor details. But here, dear readers, I will provide the 12 runners-up which did not quite make it. In so doing, I will ease the heavy burden on my soul. Bear with me here, this will be a long post. These are not in any particular order.
Parliament – Funkentelechy vs the Placebo Syndrome
Perhaps one of my greatest frustrations was not being able to award AOTM here. FTVTPS is a masterful creation from which the eternal ‘Flashlight’ stems. This ‘funk-opera’ is set against a background of fighting against this mystical placebo syndrome.
“George Clinton, Bootsy Collins and the rest of the Parliament Funkadelic and Rubber Band hydra seem blessed with unlimited inspiration.”
My personal highlight is the bridge on ‘Funkentelechy’. There’s something so beautiful about the way the music moves.
Sparks – Halfnelson
Todd Rundgren is the only artist, and I mean that in a wide sense, who has won two albums of the month on Cedric Suggests. Something/Anything and Utopia are groundbreaking and enormous in their scope. So you won’t believe my surprise to find that Rundgren produced Halfnelson! Sparks/Halfnelson was the first album from Sparks, a legendary duo from San Fransisco. One of my top ten songs in the world is on this album. The whole thing (aside from Simple Ballet and Biology 2) is masterful. Fletcher Honorama is my highlight. I often play it before listening to my favourite song. But I cannot tell you what that is. It’s simply too powerful.
Radiohead – OK Computer
This is another belter. OK Computer could be described as ship sailing the soundscape during a storm. You are taken up and down, battered with waves of the most beautiful melodies. Some have suggested this could be the greatest album of all time. I disagree, I find it somewhat patchy. Albums have a chance to win AOTM if the whole thing is numinous. There are just one too many songs which don’t take me where I want to go on OK Computer. Nonetheless, its majesty cannot be ignored. Paranoid Android is particularly astounding. Listen to OK Computer, it is hard to despise.
Rüfüs – Atlas
I saw Rüfüs du Sol (previously Rüfüs) with my friend James last month. I had not heard their sound before. But I must say I was astounded at the richness of the sound they produce. They’re an Australian quartet. Their debut Album, Atlas, reached #1 in Aus. And I am not surprised. The third track ‘Tonight’ is something of a bass anthem. I am so impressed by the ingenuity of their production. There’s a lot going on here. And Rüfüs du Sol are astounding live. I didn’t like having lights flashed in my eyes for the later half of the show, however. One can truly appreciate the effect Kraftwerk has had on their showmanship. Overall, fantastic album.
Billy Idol – Cyberpunk
What can one say about Cyberpunk? The quote below from Paul sums it up really. Terrific album start to finish. Heroin is a particular highlight. It hurls knives of sharp electro straight at you, with such precision that it will take you weeks to recover. Shangri La is also up there with blissful release songs. Tracks which make one want to float away on the soundscape are the best kind. As a whole, this album is detailed and varied in a way which compliments the vast capacity of its author.
Cyberpunk kicks the shit – my father
Cloud Control – Bliss Release
This is an album which my father showed me when he came to Warwick to see me. Chill vibes could be defined by this album. It is an excellent summer evening album. You know the kind of parties you’d go to and hear fabulous music and you’d be really proud to be friends with the host as a result? This is that kind of album. Gold Canary is a favourite of mine. the cadence and rhythm are just unbelievable. If you don’t dip your hip listening to this, I don’t know what will make you groove.
The Foals – Total Life Forever
Usually, I’d listen to this when I want to jam. Not when I want to make jam, that requires a TV show in the background, but when I want to have a little private boogie. Total Life Forever and After Glow are my highlights here. This is new pop/rock and really quite refreshing. There is a wonderful interweaving of gorgeous melodies and powerful solos holding songs together. The bass in the background of After Glow builds into a terrific crescendo, for example, taking it from a ‘finger-clicking’ chill to an all out dance-a-thon. Have a listen for yourselves:
Tame Impala – InnerSpeaker
Oh my. This one really surprised me. People tend to know Tame Impala for their weird squid basketball video, but their repertoire is vast. InnerSpeaker is another Aussie debut album. That’s two in one list. I should go over there. Expectation is my highlight. My only problem is that it finishes well, but then comes back for a seemingly pointless ‘extra psych rock’ moment. Like ELO’s Mr Blue Sky. Why is there that bit at the end? Why Jeff Lynne? But seriously overall this is one of the greatest stoner albums you will ever hear.
Innerspeaker is a psychedelia-heavy outing that toys with paisley pop, stoner vibes, and an expansive array of swirling guitars – Pitchfork
Howard Jones – Dream Into Action
Oh Howard, we don’t deserve you. This album is ram packed with astounding tunes. My favourite is Things Can Only Get Better. It hits you with a medley of synth and a sickening bass line. Why Look For the Key is equally blissful. That is like a cascade of bliss. You feel the music wash over you in the most marvellous way. It does not surprise me that Dream Into Action made #2 in the UK in March 1985.
Jeff Buckley – Grace
Buckley’s voice is angelic. His death at 30 is a deeply regrettable tragedy. Grace is his only studio album. The 2007 re-release is currently 7x Platinum in Australia. The tracks on this album have often moved me to tears. Corpus Christi Carol is something of a miracle. Each track is deeply moving, especially Halleluia. We all know this cover of Leonard Cohen, but few have sung it so well as Buckley. This album is completely fantastic. You won’t regret listening to it.
Culture Club – Kissing To Be Clever
I feel ashamed that I did not discover Boy George before I saw him live. Kissing to be Clever really threw me off guard. Boy Boy (I’m the Boy) is a masterpiece in new pop. There are several chart-toppers in this album, the whole thing itself made #5 in the UK Charts.
The danceability factor is strong in numerous songs, for example, in the song “I’m Afraid Of Me”, it carries a disco-like beat throughout the track, which provides a jumpy atmosphere that would be perfect for a club. Sputnik Music
I was taken aback with the variety of genres espoused here. In case you were wondering, Boy George was fabulous in concert.
The Squeeze – The Squeeze Is On
Funk Me Gently is an undeniable masterpiece in music. It made it to my Top Ten Tracks, which is high praise indeed. The Squeeze is On shocked me to no end. Funk is seldom so groovy as in this album. I think this represents the apex of late 70s funk. What is strange is that I cannot find a review to cite for you. This must be a more obscure album than I thought initially. Nonetheless, the genius of its composition is difficult to ignore.
I hope you’ve enjoyed Almost Album(s) of the Month 2018. I’ve had a grand old time listening to this wonderful music. I encourage you to listen to a new album every day to widen the ambit of your musical knowledge.
