By now, one ought to recognise a common trend in my AOTM choices – magnitude. When listening to a new album, I search for that je ne sais quoi which sets apart a standard album from an outstanding work of art. A Secret Wish is such an album.
Picture this: Boney M and Kraftwerk have a baby. This baby in turn marries ABBA. Their offspring would be Propaganda. The shocking amalgamation of sounds is so very pleasant.
Their debut album, A Secret Wish, appeared just after ZTT had crested commercially in July 1985, and remains a fascinating addition to the clumsy, clattering canon of 80s electronica. Powered by the vocal mystery of Claudia Brücken, the sweetness of Susanne Freytag and the engine room of Michael Mertens and Ralf Dörper, the group was able to sate the European fantasies of the label. BBC Music.
The opening number, Dream Within a Dream, sets a sky high standard for what is to follow. You are initially entranced by Claudia Brücken’s distinctive Deutsche vocals, and out of nowhere, a resounding and unyielding bass-line elevates the track flawlessly.
Jewel and Sorry for Laughing are the only two tracks which I avoid. They lack the drive and mysticism of the other tracks. p:Machinery is particularly good. A cascading bass and synth combination holds up the track and gives it a unique aura. Listen out for the middle of the track, where an astounding bass – I don’t even know what to call it. Just hang on to your seats.
The rest of the album basks in the halo effect of its opener. Duel, their greatest hit, the track which gained them the oft-repeated epithet of being “Abba from hell”, chugs along full of pop frisson and fizz. Ibidum.
Dr Mabuse is another highlight from this album. “Why does it hurt when my heart misses the beat?”. Listening to the insidious weave of interdependent bass; synth and sparse drum beats, one can understand why the BBC refers to them as ‘ABBA from hell’.
A Secret Wish is massive. And if you’re not convinced by Propaganda’s genius, listen to this song from Claudia Brücken’s album A Million Other Things:
And now, if you’re ready, here is my second favourite tune from Ms Brücken:
Purple Rain is big. From the first words… “dearly beloved, we are gathered here to talk about this thing called life….” you are cast into this deep, meaningful abyss of an album. At all material times, you feel an ominous je ne sais quoi. This is more than music. Purple Rain is cultural heritage. In fact, it was added to the Library of Congress’ National Recording Registry. The Registry comprises a list of sound recordings that “are culturally, historically, or aesthetically important”
Purple Rain is certified 13-times platinum and has sold 25 million copies. It is now the third best selling album of all time!
Given this, I am aghast that nobody is talking about it. In 2016, the album was re-released and became the 13th best selling album of that year.
But enough about this album’s achievements. No one more, it is currently 148 in Rolling Stones top 500 albums of all time.
Prince’s rock & roll is as authentic and compelling as his soul and his extremism is endearing in a era of play-it-safe record production and formulaic hit mongering. Rolling Stones
I could go on ad infinitum about the accolades of this album. But let us talk about my favourite tracks, because this is my blog, after all. Darling Nikki is my favourite track. It’s about a sex fiend and how she romanced Prince with her rough haphazard ways. There’s a freaky solo at the end which makes the hairs on the back of my neck stand up.
Baby I’m A Star is also a standout track. Let’s Go Crazy and When Doves Cry reached Number 1 in the US charts. Usually one shouldn’t pay attention to what Americans think but they’re right on this occasion.
“Let’s Go Crazy” is a furious blend of metallic guitars, Stonesy riffs, and a hard funk backbeat; the anthemic title track is a majestic ballad filled with brilliant guitar flourishes. Allmusic
The tracks on this album are sharp and aggressive. They will send you to places you didn’t think music could take you. They shall open your eyes to the true extent of Prince’s prowess. There’s nothing quite like the total overwhelming brilliance of Purple Rain.
Living in the burgeoning metropolis that is Birmingham, I’ve been exposed to the full extent of brilliance in the local population. The engine in the car I bought here last week gave in and my bike was stolen. Within an hour of one another! As you can imagine I relished the newfound opportunity to commute on public transport, which took me 3 times longer than usual.
In this time, I re-listened to An American Prayer. This album has been on my radar for some time. Throughout September, I have been listening to a new album each day. Some truly stuck out. Big Data, 2.0; Tame Impala’s InnerSpeaker were among the top 5. But in all, I cannot deny the majesty of An American Prayer.
An American Prayer is deeply impressive. This is due mostly, for me, to the vocals being recorded in 1969 and 1970, before Jim Morrison died. The album itself was released in 1978, after The Doors had broken up.
Do you know we are being led to slaughter by placid admirals & that fat slow generals are getting Obscene on young blood?
Do you know we are ruled by t.v.?
In spite of their personal differences, the remaining members of the Doors (Ray Manzarek Robby Krieger John Densmore) got back together and wrote backing tracks to put behind Jim Morrison’s poetry. The poems and spoken words in this album moved me. They shook me. In fact, whenever I set my mind on any one part of this Opus, I get goosebumps.
An American Prayer is a stupendous album, even for those who don’t like The Doors to the extent I do. Lyrically; conceptually and musically, this album is important. It will appeal to all of those musically inclined.
Indians lay on dawn’s highway bleeding
Ghosts crowd the child’s fragile eggshell mind
And if you love The Doors, An American Prayer will bring some of their most loved songs to life. you may find yourself discovering new depths to tracks you thought you knew!
I cannot find words to describe what Jeff Wayne has achieved in making this album. There are no expressions readily available in the English language to describe the scale of musical triumph held within The War of the Worlds. But this blogger shall try, at least, to encompass its greatness in around 300 words.
The War of the Worlds is a musical adaptation of H.G Wells’ epic 1897 novel of the same name. The album recounts the tale in the novel, each song bearing the name of a significant event throughout. I won’t say too much about the story so as not to ruin it for new listeners. Essentially the Martians come to Earth with the sole intent of colonising it, starting with England!
Playing the protagonist/narrator is Richard Burton, a famous “thespian wastrel” and, briefly, husband to Elizabeth Taylor. He plays the part of the journalist, through who’s eyes the story is told. Other notable vocalists include Phil Lynott (of Thin Lizzie) and Julie Covington (Don’t Cry For Me Argentina) as Parson Nathaniel and his wife, Beth.
The full album is almost two hours long. I’d suggest, as is my want, that you listen to it all the way through in one go. Only then can you appreciate its depth. My father suggested this to me. Only after my fourth or fifth listen all the way through, including one where I drove from Austria to North Eastern Italy, did he tell me that his father had suggested this to him.
War of the Worlds is a family musical heirloom. I’m not surprised this album has survived the test of time. For want of a better word it’s otherworldly. There is something magnificent about the way it has been put together. The melodies contained within will make the hair on your neck stand up. I cried four times when listening to it on my way to Stansted. And I mean full heaving weeps, not some minor droplets. This album will evoke emotions in you. Emotions you are not ready to recognise you possess.
There does exist a new version, with vocals by Liam Neeson as the spoken voice of the Narrator and Gary Barlow (Take That) as his sung voice. The artilleryman is played by Ricky Wilson (Kaiser Chiefs). Maverick Sabre plays the Parson and Joss Stone (The Soul Sessions) plays his wife. The reworked album follows the same direction as the first one, with a lot more synth and a refreshed feel to it. The Spirit of Man is a particular highlight for me.
Listen now and listen well to this magnificent musical triumph. You won’t regret it.
Okay. Let’s talk about Todd again. I don’t know how this person ever graced the Earth. We surely do not deserve him.
Some months ago, I thought Todd could not exceed Something/Anything. How wrong I was. Utopia is nothing short of an aural miracle. Such a density of ideas has seldom been seen or heard before. I have no superlatives in my vast arsenal which can adequately surmise the magnificence of this album.
From start to finish, Utopia did not falter. Peaking at #34 on the Pop Album chart, this seminal 1974 record sold very well. Please excuse my excitement. I was driving on the A42 on the way to Nottingham earlier and this album made me cry. Throughout my journey I would cry on a total of four occasions. This album is the stuff from which dreams are made.
In a way,
you are just a soldier of the mind
Utopia’s brilliance is pushed further when I discovered it was recorded live at The Secret Sound and The Fox Theater in Atlanta, Georgia, on April 25th, 1974. Todd Rundgren was 26 when he created and produced Utopia. Do I need to keep going? I must.
The first track; Utopia Theme, is shocking enough. Especially at the point where Todd himself walks on stage and the entire mood of the song pivots.
The Freak Parade is my second favourite track. Follow it as it gradually builds up the layers of sound; adding a previous melody to a new one, ending in a gorgeous club sandwich of sound. You’ll hear what I mean.
Freedom Fighters gives you a short break from lengthy songs to prepare you for what is coming. It’s in its own way a protest song. Maybe protesting the current popular thought. But the melody is unique and dreadfully catchy.
And the music plays forever
And it captures every ear
And the sound of barriers crashing down
Is the sweet harmony you hear
Finally, The Ikon is a strange yet striking 34(!) minute song. It venerates a mystical being called the Ikon which seems to open people’s minds when worshipped. I know it sounds trippy and you’re probably wondering what I imbibed, but I urge you to pay close attention to this song. It is replete with splendour and variety. Halfway through there is a brief pause where Todd plays bizarre percussion signalling the next step in the song. Listen once again how Rundgren uses techniques established in The Freak Parade. He once again introduces melodies but this time layers them in different combinations. Sometimes with or without ones previously introduced. It’s really quite a phenomenal experience.
Someone knows who you are
Someone watches over you
Someone knows how you feel
And someone feels the same
Floods of tears erupt when I hear those words.
I cannot impress upon you the scale of the contribution Utopia makes to progressive rock. Nor can I tell you of how profoundly it has affected me. I am in awe of Todd Rundgren. Utopia is a magnificent success.
Something momentous happened this month. While making my decision about which album I should choose for the coveted spot of Album of the Month, I consulted my father. He agreed with my choice, almost immediately.
Readers, this is unprecedented. Our dear Paul quite nearly disowned me for heralding Youthquake. But he and I are both great fans of Thomas Dolby. His third studio album; Aliens Ate My Buick (1988) might well make Album of the Year.
But we are not here to speak about that, we are here to hear of The Flat Earth. What a masterful piece of music. I would go so far as to say it is a work of art. This album should be protected by UNESCO. I bought the vinyl before listening to the mp3, which is highly unusual for me. When I spoke to Ian at Vinyl Destination, I said “I shall have to buy this record”. He replied “I shall have to agree”. Little did Ian know, he would change my life in a delectably positive way.
When The Flat Earth was released in March 1984, no-one in the UK quite knew what to make of Dolby. And he delighted and perplexed his audience with a record that refused to fit into any pigeonhole whatsoever. (BBC 2009)
From the first note to the last, The Flat Earth is hugely significant. Below is the first track from this momentous album, and my favourite:
As you can hear, this is indeed a work of masterful art.
…the humanity of its creators shines through. (The Quietus 2009)
But the hits don’t stop there; each songs seems tailored to make you feel a throng of emotions. Mostly joy, but sometimes abject horror. This is the key to this album for me; listen carefully to the lyrics, (Screen Kiss is a good example) some of the subject matter might surprise you. I’m listening to White City now and I am in a state of pure bliss. Each stand of this song is brilliant. The strong notable baseline underpinning super synth; the slow crescendo expanding into a riveting rant criticising the banking system. Then the song expands into a government cocaine conspiracy.
Gorgeous transitions between songs also win me over. The chirping insects leading from the White City to Mulu The Rain Forrest and I scare myself. The album has a narrative quality which I have not seen since hearing Grace Jones’ Slave to The Rhythm. Cutting in lyrics in reverse and outtakes from interviews with Dolby make for hair raising listening. Trying to depict the splendour of this album in one light is difficult. I truly believe you’ll enjoy it.
In few words, this album is overwhelmingly superb. Give it a listen and let me know what you think. And remember:
The Earth can be any shape you want it, any shape at all.”
