Some critics insist this is the best of the early Attractions albums and among Costello’s very best work. I haven’t listened to any of the other records, recently, however, and so I have a really hard time judging whether or not that opinion is correct.
Tag: Singer Songwriter
Lightfoot! (1966) by Gordon Lightfoot
Gordon Lightfoot was born in 1938. He was relatively old when he released his debut album. And, though this shouldn’t matter, it’s really apparent in 1966, when this was released. Because something happened in the early ’60s after Lightfoot began his career, while he was refining his style, recording his debut but, importantly, well before …
Humans (1980) by Bruce Cockburn
Cockburn is one of those singer-songwriters I’ve taken my sweet time getting to, especially strange given his nationality. (Or perhaps that’s on purpose on my part.) This is only the second Cockburn album I’ve ever heard despite how prolific he is and despite his citizenship. (He is a bigger deal in my country, I suspect, …
The Ghost of Tom Joan (1995) by Bruce Springsteen
My two biggest problems with Bruce Springsteen are the hype I grew up with and Springsteen’s aesthetic as a producer (and/or the E Street Band). I’m slowly getting over the first one. And this is one of his few records that sort of addresses the latter problem.
Double Fantasy (1980) by John Lennon, Yoko Ono
The dirty little secret about this record – if it’s even a secret – is that it was a failure when it first came out: it got bad reviews and it didn’t sell very well. People can write all they want about how it was John Lennon’s return after being a dad, or what have …
Starsailor (1970) by Tim Buckley
I guess this is the logical end of Tim Buckley’s pursuit of jazz – a record that has basically nothing in common with his debut or any of his early music, and which feels really mislabeled if the term “singer songwriter” or “folk” is used.
Tea for the Tillerman (1970) by Cat Stevens
At his worst, Cat Stevens is like a sappier James Taylor (which is really saying something). But, at his best, he’s more musically interesting and ambitious than his bloodless contemporaries. My problem with this record is that he’s at his worst far more than he’s at his best.
Stephen Stills (1970)
Though I became kind of obsessed with Manassas’ debut album and Super Session back in the day, Stills is the last of CSNY for me, in terms of listening to proper solo albums. Some of that is accidental (or technical, depending upon how you feel about Manassas). But some of that is also because, though …
Van Morrison, His Band and the Street Choir (1970)
Imagine you were so talented you could come up with an album concept, have it fall apart completely, and then have your record company release some of the tapes against your will and you still end up with this great album. The more I get into Van Morrison the more I am just in awe …
Stories From the City, Stories From the Sea (2000) by PJ Harvey
PJ Harvey is one of the great songwriters of her generation, and this album is another fine example of her abilities. but the record marks a bit of a change in aesthetic for her (as far as I know) that I don’t exactly love.
Whoa, Nelly! (2000) by Nelly Furtado
I’ve paid basically no attention to Nelly Furtado. I was aware of her hits – and remember the hits from this record – but was otherwise utterly uninterested. Some of that has to do with my music tastes – specially my tastes when I was 19 – and some of that appears to have to …
The River (1980) by Bruce Springsteen
We were driving back from a ski resort in Vermont – Bolton Valley or Killington, I don’t remember which – and we got slowed by a massive snowstorm. I was in my tweens or early teens. We were driving up the west side of Lake Champlain and we could only get one radio station from …
Still Crazy After All These Years (1975) by Paul Simon
I have no time or patience for the Smooth Sounds of the Seventies and Paul Simon is not a favourite songwriter, so you can imagine that this is not a record I’m going to enjoy.
Rock of Westies (1975) by Elton John
Based upon the title, the cover, and the presence of “Island Girl”, I thought this was going to be John’s Caribbean record. (I thought “westies” meant “West Indies”; I didn’t know it was a spoonerism.) So colour me surprised by (most of) the actual content.
Tumbleweed Connection (1970) by Elton John
Try as I might, I cannot fall in love with Elton John’s music. I have listened to many of his records at this point – basically only from the ’70s – and I have quite liked one of them. The others don’t really connect with me yet and this one is just another of those.
Hearbreaker (2000) by Ryan Adams
Faithless Street (specifically the expanded edition from 3 years later) is one of my favourite albums of the 1990s and easily my favourite alt country album of all time. I went through a phase where I was chasing that dragon a bit, listening to the other Whiskeytown records and some Adams solo stuff, and never …
Listen Without Prejudice Vol. 1 (1990) by George Michael
More than his debut album, this record strikes me as the work of a singer-songwriter, one who also happens to be an incredibly dynamic performer, and a multi-instrumentalist. I’ve only listened to Faith a couple of times, but this feels more personal. And I must say I like it more. As an aside: the fact …
Hounds of Love (1985) by Kate Bush
Though I have yet to listen to every one of her albums, this strikes me as her most ambitious album, at least to date. Recording a side-long suite of songs is borderline prog rock (and would actually be, I guess, if the music was a little more connected).
Never for Ever (1980) by Kate Bush
It’s funny, for me, that I cam to Kate Bush, because I seem to love just about everything she does. I find her music so compelling that I sometimes struggle to put it into words. There are things I like and clearly her particular brand of theatrical performance, interesting arrangements distinct songwriting is very much …
Vivadixiesubmarinetransmissionplot (1995) by Sparklehorse
My memory of Good Morning Spider, the only Sparklehorse record I’ve heard before this one, is that it was pretty harrowing stuff. That makes sense, given that part of it is about an overdose. But I guess I was expecting something similar. And though this record definitely has a “sad” vibe at times, I don’t …
Viva Last Blues (1995) by Palace Music
I like Will Oldham. I like his aesthetic, I like his songs. I basically like everything about him. (Is his affect a little pretentious? I guess. But it doesn’t bug me.)
Ben Folds Five (1995)
At some point during the last 30 or so years before this album’s release, the piano stopped being a rock instrument. That’s particularly weird given its primary in the creation of rock and roll, as it was piano and saxophone, before electric guitar, that helped create what became rock and roll (in part because they …
I Ain’t Marching Anymore (1965) by Phil Ochs
I came to Phil Ochs late, only because of the recommendation of a friend. (Thanks Derek!) Before that I had heard of his infamous live album, but that’s it. So this is my second Ochs album and, as usual, I am listening to his catalogue out of order. I mention all of this because my …
Elliott Smith (1995)
Allow me to get something off my chest: this record is not “lo fi”. If you think this is “lo fi”, please listen to early Smog or early Sebadoh or early Ween or anything that actually qualifies as lo fi and then come back and listen to this. Smith doesn’t need your help. He’s a …
Not a Pretty Girl (1995) by Ani DiFranco
Ani had used bands at times before this record, despite her full, percussive guitar style that easily lends itself to solo performances. But on this record she decided to full band more of the time (to my memory) but by recording just her an her drummer.
Tigerlily (1995) by Natalie Merchant
If you had asked me what I knew of Natalie Merchant before I listened to this album, I would have told you I know she was the lead singer of 10,000 Maniacs and I know she’s a featured vocalist on a couple of the Mermaid Avenue songs. That’s it. Well, now I know better.
Everything I Long For (1995) by Hayden
Despite being Canadian Hayden has mostly eluded me. (And I’ve, um, seen him live. Seriously.) I don’t know why but I’ve just never taken the time to listen to his albums. I’ve heard some of his songs at friend’s places and, yes, I’ve seen him at a festival. But I’ve never paid much attention and …
Tilt (1995) by Scott Walker
Scott Walker had one of the most incredible second acts in popular music, utterly transforming his sound at a point at which most people could be forgiven for having forgotten about him (if they knew about him at all). His late career albums are some of the most vital, original singer-songwriter albums you’ll ever hear. …
There’s No Place Like America Today (1975) by Curtis Mayfield
My general, um, impression of Curtis Mayfield is that his version of soul is just way too slick for me. I’ve felt this about the limited albums of his I’ve heard, be it solo or the Impressions. I don’t feel that way as much about this record and I’m not sure if that’s me getting …
Captain Fantastic and the Dirt Brown Cowboy (1975) by Elton John
I keep having the same experience over and over again with artists I’m relatively unfamiliar with, like Elton John: I listen to 2 or 3 or 4 albums and I’m unimpressed and then I get to like the 5th album (or sometimes even the 6th) and I have some kind of epiphany and suddenly worry …