1991 - Clive's Top Albums of Every Year Challenge

May 02, 2023 by Clive in Clive's Album Challenge, Music

Over what will likely be the next few years I’m going to be ranking and reviewing the top 5 albums - plus a fair few extras - according to users on rateyourmusic.com (think IMDB for music) from every year from 1960 to the present. If you want to know more, I wrote an introduction to the ‘challenge’ here. You can also read all the other entries I’ve written so far by heading to the lovely index page here.

Before we get into music, here’s some world events from 1991 to set some context: the South African government repealed apartheid laws, Boris Yeltsin became the first freely elected president of the Russian Republic, and a cease fire ended the Persian Gulf War.

As for music, here’s what rateyourmusic.com users rate as the year’s top 5 albums:

#1 My Bloody Valentine - Loveless
#2 Slint - Spiderland
#3 A Tribe Called Quest - The Low End Theory
#4 Talk Talk - Laughing Stock
#5 Nirvana - Nevermind

Here’s some I’m plucking from further down the list:

#6 Death - Human
#8 Swans - White Light from the Mouth of Infinity
#17 Slowdive - Just for a Day
#18 Pearl Jam - Ten

And I’m also adding Bonnie Raitt’s Luck of the Draw, which is the only album I can see from 1991 appearing on various ‘best albums of all time by women’ lists.

That’s 10 albums competing for a coveted best of the year title. Off we go.

“Human is the fourth studio album by American death metal band Death, released on October 22, 1991, by Relativity Records. The album marked the beginning of a major stylistic change for Death, being more technically complex and progressive than the band's previous efforts. Human was released to critical acclaim from music publications and is seen as a pivotal release in the development of the technical death metal subgenre and on extreme metal in general.” - Wikipedia

I have to say Human is a disappointing death-metal album name after Leprosy, the previous album of theirs to grace this challenge. Death remains a superb name for the band though. Chuck Schuldiner’s vocals are angry, the guitar riffs are rapid and technical, and the double-bass drum pedal consistently marches a thudding beat. There’s a refreshing human-ness to the album (no pun intended) as some of the imperfections are kept intact, unlike in a lot of modern metal recordings where everything is quantised and artificially perfected in the studio (I know I have made this point before, sorry). The instrumental skill here is remarkable, but it’s also just damn enjoyable, and has me bopping my head along to its syncopated riffs and beats in ways the doctor would not recommend.

Song Picks: Flattening of Emotions, Cosmic Sea, Suicide Machine

7.5/10

9. The Low End Theory

A Tribe Called Quest

“The Low End Theory is the second studio album by American hip hop group A Tribe Called Quest, released on September 24, 1991, by Jive Records. Recording sessions for the album were held mostly at Battery Studios in New York City, from 1990 to 1991. The album was primarily produced by group member Q-Tip, with a minimalist sound that combines bass, drum breaks, and jazz samples, in a departure from the group's debut album, People's Instinctive Travels and the Paths of Rhythm (1990). The album is widely regarded as one of the greatest albums of all time, appearing on many best album lists by music critics and writers. In 2020, it was ranked at number 43 on Rolling Stone's list of the 500 Greatest Albums of All Time.” - Wikipedia

The beats are toned back from the previous album, and I think it takes a nifty stereo or set of headphones to pick out the subtleties of the production here. The bass and drums are as laid back and groovy as you can get, but they’re also pretty similar from song to song so when they dominate the album can drag a little. Listen on a balanced system though and you’ll pick out the lovely repeated flourishes that dance on the bass and drums, such as the stuttering guitar riff on Everything Is Fair, the atmospheric synth touches on Jazz (We’ve Got), and the lovely little wah-wah riff on the closer Scenario.

The Low End Theory is a case in masterful grooves production, but it is a victim of its own easy-going nature at times, struggling to fully hold your attention for its 48 minute duration, even if it is probably one of the slickest chill-out room albums of all time.

Song Picks: Excursions, Check the Rhime

8/10

“Luck of the Draw is the eleventh studio album by Bonnie Raitt, released in 1991. The album surpassed Nick of Time's commercial success, having sold seven million copies in the United States alone by 2010, and was supported by a 180-date tour from 1991 to 1993. It remains Raitt's biggest-selling recording to date.” - Wikipedia

Another rock solid country album from Raitt. Great, catchy songwriting and production that makes a genre I often find too samey varied enough to make the 50 minutes fly by. Raitt’s lovely vocal timbre helps too.

Song Picks: One Part Be My Lover, Something to Talk About

8/10

7. White Light from the Mouth of Infinity

Swans

“White Light from the Mouth of Infinity is a studio album by the American experimental rock band Swans. It was released in 1991, through the record label Young God.” - Wikipedia

Gone are the roars and pulverising guitars, replaced by a more gothic sound featuring Gira’s baritone vocals. There’s still not much in terms of song-structure going on, with a free-flowing style that makes the album’s 70 minutes feel like some epic musical poem.

This is definitely less aggressive than Swans’ previous albums, but it is no less dark. An underrated gem in my opinion, with a rawness to it that you might expect from a band first stepping into a new sound, something which its 70 plus minute run-length roughens up even more.

Song Picks: Power and Sacrifice, Will We Survive, Love Will Save You, Blind

9/10

“Just for a Day is the debut studio album by English rock band Slowdive. The initial reception to Just for a Day from the British music press was lukewarm, in contrast to the enthusiasm with which Slowdive's earlier releases had been met.” - Wikipedia

There’s nothing lukewarm about this album to me. It’s a long, comforting bath in the clouds, a collection of songs that bloom and bloom until they sound like a planet sadly exploding across the night sky. I could swim in its textures for days.

Song Picks: Celia’s Dream, Ballad of Sister Sue, Waves

9/10

“Spiderland is the second and final studio album by the American rock band Slint. It contains six songs played over 40 minutes, and was released by Touch and Go Records on March 27, 1991. Slint broke up shortly before the album's release due to McMahan's depression. In the US, Spiderland initially attracted little critical attention and sold poorly. However, a warm reception from UK music papers and gradually increasing sales in subsequent years helped it develop a significant cult following. Spiderland is widely regarded as foundational to the 1990s post-rock and math rock movements, and is cited by critics as a milestone of indie and experimental rock, inspiring a myriad of subsequent artists.” - Wikipedia

In its dynamic troughs the album is dominated by haunting plucked electric guitars, while the loudest peaks consist of guitars crisply fuzzed to within an inch of their lives. You can hear the birth of modern math-rock and post-rock here as it breaks out of its alt-rock egg before your very ears. This album could have come out today, and it would likely still be considered pretty singular. McMahon’s whispers and occasional gentle melodies speak of a resigned inner turmoil, complemented perfectly by complex, beautiful arrangements that are both mathematical and emotional, while having a dynamism that keeps you hooked. Spiderland is fragile, forceful, and everything in between.

Song Picks: Breadcrumb Trail; Washer; Good Morning, Captain

9/10

“Ten is the debut studio album by American rock band Pearl Jam, released on August 27, 1991, through Epic Records. Following the dissolution of their previous band Mother Love Bone in 1990, bassist Jeff Ament and guitarist Stone Gossard began rehearsing with new guitarist Mike McCready. Copies of the demo were eventually given to drummer Dave Krusen and vocalist Eddie Vedder, both of whom were invited to audition for the band in Seattle.” - Wikipedia

While the Dave Krusen and Jeff Ament rhythm section is a rock solid one, it’s the swirling guitar lines (in particular from Mike McGready) and Eddie Vedder’s unique vocal timbre, powerful melodies and passionate delivery that make Pearl Jam who they are. Though they are synonymous with the Seattle grunge movement of the early 90s, the more technical, clearly Hendrix inspired guitar work puts them in a different box to others of the time. Packed with choruses that pretty much force you to stick your hands in the air and scream to the sky (see Alive), Ten also contains what I’m pretty sure will be some of the decade’s best guitar-playing, and for someone as obsessed with guitar as I am, that was always bound to make me love it. Who said guitar solos weren’t cool anymore? McGready would like a word.

Song Picks: Alive, Even Flow, Jeremy

“Laughing Stock is the fifth and final studio album by English band Talk Talk, released in 1991. Following their previous release Spirit of Eden (1988), bassist Paul Webb left the group, which reduced Talk Talk to the duo of singer/multi-instrumentalist Mark Hollis and drummer Lee Harris. Like Spirit of Eden the album featured improvised instrumentation from a large ensemble of musicians. The demanding sessions were marked by Hollis' perfectionist tendencies and desire to create a suitable recording atmosphere. Engineer Phill Brown stated that the album, like its predecessor, was "recorded by chance, accident, and hours of trying every possible overdub idea." The band split up following its release, effectively making Laughing Stock their last official release.” - Wikipedia

Talk Talk’s albums always feel like experiences rather than sets of songs, and nowhere is that more true than in their final album. Laughing Stock is one of the most spacious albums I’ve ever heard, there’s so much quiet in between the notes, everything is laboured over, felt and given a universe in which to breathe. Even during the crashing crescendos of Ascension Day, where the soundscape is undoubtedly filled out, it feels as if every angular chord matters, before the track is ended callously without a fade, as if the band’s sensitive recording tape had just been overloaded.

Hollis has described the album as ‘arranged spontaneity’, and his vocal melodies seem to follow that pattern too. On Laughing Stock, Hollis got over 50 musicians to pour their musical hearts out, before puzzling it all together to create something more than the sum of its parts. Wonderful.

Song Picks: Ascension Day, After the Flood, Taphead

9.5/10

“Nevermind is the second studio album by the American rock band Nirvana, released on September 24, 1991, by DGC Records. It was Nirvana's first release on a major label and the first to feature drummer Dave Grohl. Produced by Butch Vig, Nevermind features a more polished, radio-friendly sound than the band's prior work. Nevermind and its singles' success propelled Nirvana to being widely regarded as the biggest band of its time, with Cobain being dubbed by critics as the ‘voice of his generation.’” - Wikipedia

Butch Vig may have recorded the album, and deserves credit for that, but it was Andy Wallace who was drafted in to make the album’s final mix, which is still one of the best sounding albums in the genre in my books. Cobain initially had no issue with the production (according to Wallace), but later complained about it being too radio-friendly and ‘lame’, prompting him to take another direction with In Utero. Personally, I like both, but the sparkling clean production is perfect for the songs here. Nevermind is an exercise in the power of simplicity. The riffs aren’t complicated, but they hit like a truck and Dave Grohl’s drumming pounds so hard that it sounds animalistic no matter how well it’s polished in the production. The laboured quarter-beat roll down the toms and famous flans on In Bloom are integral sections to what is surely one of the most effective drum parts in history. This is all very well I hear you say, but are the songs any good? Well, yes they are, scream along choruses abound, this is surely one of the most cathartic albums ever put to tape.

Song Picks: Smells Like Teen Spirit, In Bloom, Come as You Are

9.5

“Loveless is the second studio album by the Irish-English rock band My Bloody Valentine. It was released on 4 November 1991 in the United Kingdom by Creation Records and in the United States by Sire Records. Since its release, Loveless has been widely cited by critics as one of the greatest albums of all time, a landmark work of the shoegaze subgenre, and as a significant influence on various subsequent artists.” - WIkipedia

Loveless is essentially a Kevin Shields solo project, with him playing all but a few of the instruments, including programming most of the album’s buried drums. Bilinda Butcher’s dreamy vocals are lost in the fuzzy haze of Shields’ guitar waving in and out of tune like the heartbeat of the Earth itself. There are gorgeous melodies, see only shallow and when you sleep, and even basic song structures, but they’re masked beneath a perfect wall of noise. Loveless makes it deliberately impossible to impart any ‘meaning’ from its music, and thus forces you to sit back and feel it instead. In the words of fellow Stick Around podcaster Michael Johnson, it’s a ‘swirling tornado of noise’, one that you keep wanting to turn up and up, willing to be sucked into the cover’s pink, dreamy hues and into the album’s perfect, amorphous world.

“How do you spell love” - Piglet

“You don’t spell it, you feel it” - Winnie-the-Pooh

Song Picks: only shallow, when you sleep, i only said, son

1988 - Clive's Top Albums of Every Year Challenge

November 02, 2022 by Clive in Clive's Album Challenge, Music

I had this post pretty much finished, and then my son was born 4 weeks ago and rather took over the schedule, which has been delightful. Anyway, I’ve managed to finish the last couple of reviews now as we plough through the 80s. In terms of world events in 1988: NASA scientist James Hansen warned congress of the dangers of the global warming and the greenhouse effect (that’s going well…), the US and Canada reached a free trade agreement, and Margaret Thatcher became the longes serving Prime Minister of the century in the UK.

Here’s what rateyourmusic.com’s users rate as the year’s top 5 albums:

#1 Sonic Youth - Daydream Nation
#2 Talk Talk - Spirit of Eden
#3 Pixies - Surfer Rosa
#4 Iron Maiden - Seventh Son of a Seventh Son
#5 Public Enemy - It Takes a Nation of Millions to Hold us Back

I’ll grab this lot from further down the list too:

#6 Metallica - ….And Justice for All
#7 Death - Leprosy
#8 Nick Cave and the Bad Seeds - Tender Prey
#10 Slayer - South of Heaven
#15 The Pogues - If I Should Fall from Grace With God

As usual, to add more female artists to the equation, I’ll be grabbing anything from 1986 from NPR’s list of the best albums of all time by female artists, as well as the same list as voted on by their readers. This year we’ve just got the one album to add:

Tracy Chapman - Tracy Chapman

Finally, I’ll also include these two from Pitchfork’s top albums of the 1980s,

Sade - Stronger than Pride
NWA - Straight Outta Compton

Ok, that’s plenty to be getting on with, let battle commence. As a bit of a spoiler, I think this might be the most albums with 9.5 and over we’ve had…

“Straight Outta Compton is the debut studio album by rap group N.W.A, which, led by Eazy-E, formed in Los Angeles County's City of Compton in early 1987.[3][4] Released by his label, Ruthless Records, on August 8, 1988, the album was produced by N.W.A members Dr. Dre, DJ Yella, and Arabian Prince, with lyrics written by N.W.A members Ice Cube and MC Ren along with Ruthless rapper The D.O.C. Not merely depicting Compton's street violence, the lyrics repeatedly threaten to lead it by attacking peers and even police. The track "Fuck tha Police" drew an FBI agent's warning letter, which aided N.W.A's notoriety, with N.W.A calling itself "the world's most dangerous group." - Wikipedia

Probably the most influential rap album of all time, and certainly that for gangsta-rap, Straight Outta Compton is one of those albums that hasn’t aged as gracefully (if graceful is a word that can go anywhere near this album) as some of its contemporaries. The opening three tracks are undeniable bangers, with the laid back funky production contrasting to the group’s lyrics, which seem intent on offending everyone in an undirected flurry of anger. Some of the misogony here is a little uncomfortable in 2022, but you can totally see why this album exploded onto the scene in 1988. Straight Outta Compton is brimming with attitude, and I’d say its the attitude that is more consistent than the musical intrigue as the album goes on. I probably sound down on it, but I’m not, it’s just that having listened to It Takes a Nation of Millions to Hold Us Back by Public Enemy, this doesn’t reach the same heights.

It’s still an essential listen from a historical perspective, with some of hip-hop’s most important tracks. Just prepare yourself for some filler, and more attitude than rapping skill.

Song Picks: Straight Outta Comtpon, Fuck the Police, Gansgsta, Express Yourself

7.5/10

12. Tender Prey

Nick Cave and the Bad Seeds

“Tender Prey is the fifth studio album by Australian rock band Nick Cave and the Bad Seeds, released on 19 September 1988 on Mute Records. Produced by Flood, the album was recorded during several sessions over the course of four months in West Berlin—where the band were based at the time of its release—and London and dedicated to Fernando Ramos da Silva.” - Wikipedia

Nick Cave himself said of Tender Prey: "It was a nightmare, that record. It is reflective of a group - particularly myself - who was just writing songs and there was no larger idea behind it. Sometimes some of the group was there, sometimes they weren't. I hear bad production and I hear bad performances as well." Cave later admitted that the album, "was made at a difficult time in my life when things were spiralling out of control in a lot of areas."

I think that statement gives you a good idea of what the album is. It’s a bunch of songs with Cave’s signature strong lyrics and gruff vocal performances, but without a particularly cohesive narrative or feel to them. I agree with Cave on the bad production at points, it sounds quite rough and thin on many of the tracks, but I don’t feel any of the instrumental performances are taking away from the songs at all. Yes, the performances are often simple and to the point, but this suits Cave’s songwriting in my opinion, never distracting from the core of his songs, which are always his lyrics and vocals.

Tender Prey feels earthy, rough, and like it was written in dusty old study at the back of a delapidated house. In short, it doesn’t sound like something from the 80s.

Song Picks: New Morning, Mercy Seat

8/10

11. If I Should Fall from Grace With God

The Pogues

“If I Should Fall from Grace with God is the third studio album by Irish folk-punk band the Pogues, released on 18 January 1988. Released in the wake of their biggest hit single, “Fairytale of New York", If I Should Fall from Grace with God also became the band's best-selling album, peaking at number three on the UK Albums Chart and reaching the top ten in several other countries.” - Wikipedia

If I Should Fall from Grace With God features my very favourite Christmas song (Fairytale of New York). Enough said. I kid of course, it takes more than that to make a good album, and thankfully there is a lot more here. Shane MacGowan’s vocals have gained some additional character and variety since the last album by the Pogues we had on this challenge, and it’s this, as well as the larger variety in the songs themselves, that makes this the better album for me. Though we’re still very much in the Irish-folk template here - which is no bad thing - there’s a great diversity in the instrumentation from track to track, with the band’s abundant energy evident from start to finish. Essentially, we’ve got all the positives of Rum, Sodomy and the Lash, but with it getting less tired by the end.

If We Should Fall from Grace With God is the pleasant screech of a car taking a corner too fast, full of the careless joy of youth.

Song Picks: Fairytale of New York, If I Should Fall from Grace with God, Thousands are Sailing

8.5/10

10. Seventh Son of a Seventh Son

Iron Maiden

“Seventh Son of a Seventh Son is the seventh studio album by English heavy metal band Iron Maiden. It was released on 11 April 1988 in the United Kingdom by EMI Records and in the United States by Capitol Records. Like The Number of the Beast (1982) and later Fear of the Dark (1992), The Final Frontier (2010), and The Book of Souls (2015), the album debuted at number one on the UK Albums Chart. The lead single "Can I Play with Madness" was also a commercial success, peaking at No. 3 in the UK Singles Chart.” - Wikipedia

Iron Maiden goes prog rock??? Count me in. More complex song structures, and a genre that provides a fitting home for Bruce Dickinson’s dramatic vocals makes this my favourite Iron Maiden record we’ve had so far. The production is crystal clear and somewhat ahead of its time, and the guitar riffs are consistently pulversising. It’s just really damn solid and enjoyable.

Song Picks: Seventh Son of a Seventh Son, Can I Play With Madness, Moonchild

8.5/10

“Leprosy is the second studio album by American death metal band Death, released on August 12, 1988, by Combat Records. The album is notable in its different tone and quality from the band's 1987 debut, it is the first example of Scott Burns' work heard on many of the death metal and grindcore albums of that era. The cover is featured in Metal: A Headbanger's Journey. It is the first album to feature drummer Bill Andrews and the only one to feature guitarist Rick Rozz.” - Wikipedia

Death is probably the most death metal name of all time, and the album name Leprosy isn’t far behind either. Appropriately, I’d say this is the first time we’ve had some straight death metal on the challenge, and it’s glorious. Not a genre I’m overly familiar with, which will change by the end of this challenge I’m sure, but this thing is everything I’d want from a death metal album; obliterating riffs, ape like drumming, and pretty much every song being about death and disease. Chuck Schuldinger’s roars are monotone and almost incomprehensible, and more of a percussive instrument than a melodic one, but they add a great sense of anger and urgency to the cacophony around them.

Leprosy hits hard.

Song Picks: Forgotten Past, Choke On It, Leprosy

8.5/10

“South of Heaven is the fourth studio album by American thrash metal band Slayer, released on July 5, 1988 by Def Jam Recordings. The album was the band's second collaboration with producer Rick Rubin, whose production skills on their previous album Reign in Blood (1986) had helped their sound evolve. Given the frenetic pace of Reign in Blood, Slayer made no attempt to top it on South of Heaven; rather, the band offset and complemented Reign in Blood by deliberately slowing the tempo down on South of Heaven, as well as by utilizing undistorted guitars and toned-down vocals.” - Wikipedia

I’ve been a vocal Rick Rubin critic in the past, but his production was spot on for Slayer’s Reign of Blood, which I loved, and it’s perfect once again here. There’s a level of punchiness to the sound that I’ve not heard in heavy music up to this point. The drums are so compressed they almost sound electronic, but it works. On the songwriting front, I don’t feel the album has slowed down that much from Reign in Blood, though there is the odd slower section thrown in. We’ve still got the typical strong, speedy guitar riffs, though they seem a little fuzzier this time, and Dave Lombardo’s drums are once again like a really powerful Swiss watch.

South of Heaven is another cracking album from what is becoming one of my favourite heavy bands of the decade.

Song Picks: South of Heaven, Spill the Blood, Silent Scream, Ghosts of War

8.5/10

“Daydream Nation is the fifth full-length studio album and first double album by American alternative rock band Sonic Youth, released on October 18, 1988. After Daydream Nation was released, it received widespread acclaim from critics and earned Sonic Youth a major label deal. The album was ranked high in critics' year-end lists of 1988's best records, being voted second in The Village Voice's annual Pazz & Jop poll. Daydream Nation has since been widely considered to be Sonic Youth's greatest work, as well as one of the greatest albums of all time, specifically having a profound influence on the alternative and indie rock genres.” - Wikipedia

Leaving Sister’s penchance for more conventional song structures behind, Daydream Nation sees Sonic Youth embracing the more jam orientated element of their sound, which had always been evident in their live performances. What results is something more sprawling than their previous album, while still being more accessible than their earliest work. We’ve got detuned guitars, a complete disregard for any musical scales and often monotone vocals resulting in a dissonant cacophony driven along by Steve Shelley’s clockwork drums. Noonday Dream is a wall of sound that I found myself crashing into on my first few listens, but the more I listen, the more it softens, and I’m optimistic that one day it’ll absorb me and spit me out the other side filled with all those who cite this as one of the best albums of all time. It’s only a matter of listens.

Song Picks: Teenage Riot, Silver Rocket, The Sprawl

8.5/10

“Stronger Than Pride is the third studio album by English band Sade, released by Epic Records in the United States on 5 April 1988 and in the United Kingdom on 3 May 1988. In September 2018, Pitchfork placed the album at number 37 on its list of "The 200 Best Albums of the 1980s" - Wikipedia

I really liked 1984’s Diamond Life, but this is even better. Stronger Than Pride slows everything down to a gentle stroll. There’s not necessarily more space, as a lot of the productions here are still quite dense, but there’s more time. The bass ambles beautifully throughout the album and the guitar flirts celestially with the sax on Haunt Me, and tentatively strums and plucks to the groove on Turn My Back On You like the shy dancer in the corner hesitantly approaching the danceflloor. Throughout the record, lead singer Sade Abdu’s vocals sound like she’s singing from her bed.

Stronger than Pride is a sumptuous mix of lovely production, tasteful instrumentation, soothing melodies, meditative repetition and bass like the world’s most comfortable sofa. I’m in love with it.

Song Picks: Love Is Stronger Than Pride, Haunt Me, Nothing Can Come Between us

9.5/10

“Tracy Chapman is the debut album by American singer-songwriter Tracy Chapman, released on April 5, 1988, by Elektra Records. The album was recorded at the Powertrax studio in Hollywood, California. In 1987, Chapman was discovered by fellow Tufts University student Brian Koppelman. He offered to show her work to his father, who owned a successful publishing company; however, she did not consider the offer to be serious. After multiple performances, however, Koppelman found a demo tape of her singing her single "Talkin' 'bout a Revolution", which he promoted to radio stations, and she was eventually signed to Elektra Records. The album received commercial success in most of the countries it was released, making it to the top of the charts in many countries, including Austria, Canada, New Zealand, Switzerland, Denmark, and the United Kingdom. It peaked at No. 1 on the US Billboard 200 and was certified six-times platinum by the Recording Industry Association of America (RIAA), with sales exceeding over six million copies in the United States alone. ” - Wikipedia

How, in an era of the industry where women - particularly women with acoustic guitars - were treated with a sexist ambivelance did Tracy Chapman, a Black woman with an acoustic guitar, manage to make it? Not only that, but how did she manage to make one of the best selling albums of all time?

As outlined in the excellent Pitchfork review of the album, Chapman’s success is often attributed to her performance at Nelson Mandela’s 70th birthday benefit concert, where the fact Stevie Wonder couldn’t perform due to a technical issue meant she got a second set. There’s no more appropriate place for someone as socially conscious as Tracy Chapman to have ‘made it’, but you get the feeling she’d have made it anyway, it was written in the stars, and in her quiet confidence.

Coming out of nowhere, she recorded the most accomplished, mature, well written, and beautifully performed acoustic guitar focused album of the decade. An unparalleled knack for finding emotive melodies, combined with effortless lyrics of social and political injustice and a voice as distinctive as it is brilliant create something truly magical. We’ve got songs about domestic abuse, oppression, and racism and yet there’s always more than a candle of hope in them, thanks to Chapman’s boundless optimism. She gets the fast car, others will get their comeuppance, things are bad - but they’ll be alright.

“Poor people gonna rise up/And get their share” she sings on the rousing album opener Talkin’ Bout a Revolution. I’m not convinced they ever will before this world turns into a post-apocalyptic hellhole, but it stills warms my heart to hear it sung with such convincing prescience.

Song Picks: Talkin’ About a Revolution, Fast Car, Baby Can I Hold You

9.5/10

“Surfer Rosa is the debut studio album by the American alternative rock band Pixies, released in March 1988 on the British label 4AD. It was produced by Steve Albini. Surfer Rosa contains many of the elements of Pixies' earlier output, including Spanish lyrics and references to Puerto Rico. It includes references to mutilation and voyeurism alongside experimental recording techniques and a distinctive drum sound.” - Wikipedia

Apparently, I reviewed this album back in 2015 on rateyourmusic.com and said “I love the raw energy and craziness of these songs. The band were clearly having a lot of fun and there's some real gems on here. I can't say I love the album as much as a lot of people do, but I'm certainly a fan.”, giving it 3 and a half star rating.

Clearly I was a musical buffoon in 2015, as Surfer Rosa is a magical combination of complete chaos and catchy melodies. Black Francis’ vocals are unhinged, and yet infintely listenable. The drums have more reverb than any of the other instruments it seems, with Joey Santiago’s guitar having so little on it at times that it sounds as if his buzzing riffs are happening in your head. Those riffs by the way are completely simple and yet also some of the best rock riffs ever written. Find me a better riff than the iconic one on Where Is My Mind?, one of the greatest songs of all time not just the 80s, and I’ll eat my hat (which is filthy by the way).

Steve Albini has long been one of my favourite producers, and we’ll get to Nirvana’s In Utero, perhaps his most famous production, in 1993. He has an ability to capture the live energy of a band better than any producer out there, and that is largely what leads to the success of Surfer Rosa. Other producers would probably have tried to tame the rough edges of the performances here, but Steve Albini doesn’t. He accentuates the drums to sound like they’re playing in a basement with no acoustic treatment, and manges to make every instrument clear and yet perfectly blended at the same time.

Surfer Rosa is the capturing of a band seemingly wrestling with the infinite chaos of the big bang, and trying to tame it into something resembling catchy pop and rock numbers. What results is musical perfection with relentless energy, just enough rule following to make it familiar, and an unpredictability and sense of fun that make it unlike anything else.

Song Picks: Bone Machine, Break My Body, Where Is My Mind, Gigantic

9.5/10

“...And Justice for All is the fourth studio album by American heavy metal band Metallica, released on September 7, 1988 by Elektra Records. It was the first Metallica album to feature bassist Jason Newsted, following the death of their previous bassist Cliff Burton in 1986, although his songwriting contribution still featured posthumously in one song.” - Wikipedia

Rather rudely and famously, you can barely hear the new bassist on this album. Though if you really want to hear the excellently titled ….And Justice for Jason, a version with Jason’s bass turned up, you can find that here. The version we’re talking about though is abrasive and thin, it obliterates the most sensitive frequencies of your hearing, with no bassy warmth or high end sparkle to counteract it. As it turns out though, this suits the album’s sound perfectly, and makes it stick out from the era’s other metal offerings. Hetfield’s vocals have worn into a pleasing growl, and the guitar riffs are as good as they’ve ever been. The album consists of 9 lengthy songs that switch between time signatures on a dime, addressing political and legal injustice, something that Ulrich terms as the band’s ‘CNN years’ as they got many of the record’s lyrical themes from the channel.

The song topics are more punk than metal, and the song structures are bordering on prog. ….And Justice for All is a blistering, ear shattering attack full of exciting riffs, anger at the world, and unpredictable intrigue. It’s hard to keep a listener interested in an album for over an hour, but this record has the skittish impatience to keep you on your toes throughout. It’s my favourite Metallica album, and a contender for my favourite metal album of all time.

Song Picks: And Justice for All, Harvest of Sorrow, Eye of the Beholder, One

10/10

2. It Takes a Nation of Millions to Hold Us Back

Public Enemy

“It Takes a Nation of Millions to Hold Us Back is the second studio album by American hip hop group Public Enemy, released on June 28, 1988, by Def Jam Recordings and Columbia Records. It was recorded from 1987 to 1988 in sessions at Chung King Studios, Greene St. Recording, and Sabella Studios in New York. - Wikipedia

Nations, as I’m going to call it for ease, is a powerful, political statement brewing with anger. It features a larger vocabulary than any of the hip-hop we’ve had so far, and it also features intricate cadence and some of rap’s most powerful voices, none more so than Chuck D. Sometimes you read a review of something and it puts your own feelings better than you could (in my case this happens a fair amount) and so here’s a short paragraph from Pitchfork’s entry for this album into the top 200 albums of the 1980s (in which it came 6th):

“In 58 minutes, Public Enemy tackle everything from the crack epidemic (“Night of the Living Baseheads”) to state surveillance (“Louder Than a Bomb”); they take aim at the media’s whitesplaining of rap (“Don’t Believe the Hype”) and challenge the fallacy that what you hear and see on TV is gospel truth (“She Watch Channel Zero?!”). What they addressed was timely, but how they addressed it was revolutionary.”

The production is still somewhat ‘old school’, that is to say more unrefined than today’s hip-hop, but it’s already getting more complex than last year’s offerings, and you only have to look at the list of samples for each song to know that this is busy. More than just busy though, Nations is a masterclass in hooky samples. On She Watch Channel Zero?! they pretty much invent rap metal by sampling a superb Slayer riff from Angel of Death and dynamically and angrily rhyming over the top, on Rebel Without a Pause there’s a now iconic, long rotating squeak and on Louder Than a Bomb and Cold Lampin’ With Flavor we have some of the grooviest samples in history. Nations knows that great hip-hop is as much in the beats as it is in the lyrics and vocal rhythms, and it’s an absolute masterclass in both. Hip-hop hasn’t just arrived, it has spun into the station like the Tasmanian Devil.

Song Picks: Don’t Believe the Hype, Cold Lampin’ With Flavor, Rebel Without a Pause, She Watch Channel Zero?!, Louder than Bomb

10/10

“Spirit of Eden is the fourth studio album by English band Talk Talk, released in 1988 on Parlophone Records. The songs were written by vocalist Mark Hollis and producer Tim Friese-Greene and the album was compiled from a lengthy recording process at London's Wessex Studios between 1987 and 1988. Often working in darkness, the band recorded many hours of improvised performances that drew on elements of jazz, ambient, blues, classical music, and dub. These long-form recordings were then heavily edited and re-arranged into an album in mostly digital format.” - Wikipedia

Mark Hollis, Talk Talk’s ‘frontman’ is often referred to as a shining example of art over commercialism, and - based on his decision to retire from music in 1998 to spend time with family, which he stated he’d find impossible while touring, you could argue he’s a shining example of a family man too. Maybe he’s just a shining example, period? I don’t know the guy, but it’s hard to believe that anyone that could make something as quiet, as contemplative, as majestic, as empathetic, hell as god damn beautiful as Spirit of Eden could be anything but a great human. The entirety of the album was recorded in darkness, largely composed of long jams recorded together, it’s never in a rush, and you can almost hear the lightbulbs sizzling on in the musicians’ heads as they come up with a new riff, a rhythm, a tone to repeat meditatively. When the music explodes from its slumber, as on Desire’s crescendo, it does so in a way that drowns out Hollis’ vocals, as his thoughts struggle through the anxious din. It’s also a clear pre-cursor to that genre of crescendos - post-rock - which was to appear soon.

Spirit of Eden has the transportative quality of Eno’s best ambient work, but with more emotional heft. Someone on Radio 6 the other day said that albums were like a place, and I like that idea. Spirit of Eden is like a cosy bedroom with one of those ceiling lights with millions of stars, only it’s 3D and the room is floating through them. It’s a place of reflection, of warmth, of empathy. I find it pretty difficult to call it anything but a masterpiece.

Song Picks: Desire, The Rainbow, I Believe in You

10/10

1986 - Clive's Top Albums of Every Year Challenge

August 15, 2022 by Clive in Clive's Album Challenge, Music

The top 1986 headlines aren’t particularly positive I’m afraid: the Soviet nuclear reactor at Chernobyl exploded spreading radioactive material across much of Europe and the Space Shuttle Challenger also exploded 73 seconds after launching, killing all seven astronauts on board.

But onto more positive things, here’s rateyourmusic.com users’ top 5 albums of 1986:

#1 The Smiths - The Queen is Dead
#2 Metallica - Master of Puppets
#3 Slayer - Reign in Blood
#4 Astor Piazzolla and The New Tango Quintet: Tango: Zero Hour / Nuevo Tango: Hora Zero
#5 Iron Maiden - Somewhere in Time

As is customary, I’ll also grab some from further down the list

#6 Candlemass - Epicus Doomicus Metallicus
#7 XTC - Skylarking
#8 Talk Talk - The Colour of Spring
#9 Sonic Youth - EVOL

#12 Peter Gabriel - So
#14 Paul Simon - Graceland
#28 Siouxsie & the Banshees - Tinderbox

Finally, to add more female artists to the equation, I’ll be grabbing anything from 1986 from NPR’s list of the best albums of all time by female artists, as well as the same list as voted on by their readers. This year we’ve just got the one album to add:

Janet Jackson - Control

13 reviews to do then, off we go.

Somewhere in Time is the sixth studio album by English heavy metal band Iron Maiden. It was released on 29 September 1986 in the United Kingdom by EMI Records and in the United States by Capitol Records. It was the band's first album to feature guitar synthesisers. Since its release, Somewhere in Time has been certified platinum by the RIAA, having sold over one million copies in the US. - Wikipedia

Ah, another Iron Maiden release. Unfortunately, they remain that one band regularly appearing in these top 5s that I just can’t get into. Entertaining enough, and I can appreciate why others would like it, but I’m just not feeling it y’know. This one feels a little, dare I say it, poppier. I preferred some of their earlier releases, but this still has plenty of rock-solid riffs, guitar solos, and howling vocals.

Song Picks: Deja Vu

6.5/10

12. Epicus Doomicus Metallicus

Candlemass

Epicus Doomicus Metallicus is the debut album of the Swedish doom metal band Candlemass. It was released June 10, 1986 on Black Dragon Records. On its release, the album had a significantly different sound than other European heavy metal bands of the time, because of their use of operatic vocals mixed over slow and heavy guitar riffs. The album did not sell well on its initial release, which led to the group being dropped from the label during the same year. Since then, the album has been re-issued in several different formats. - Wikipedia

I’m getting a definite Black Sabbath vibe from Mats Björkman’s riffs on Epicus Doomicus Metallicus, they’re slow, methodical and powerful. Indeed they’re easily some of the most crushing I’ve ever heard. Messiah Marcolin’s vocals are operatic, and he’s less prone to high pitched wails than many of his contemporaries. The whole thing is a change of pace from the thrash-metal of Slayer and Metallica.

I’m generally a little biased against music that is too operatic, finding it rather hard to get into. The fact I very much enjoyed this is testament to how good it is, and though it was never going to become a favourite, I can absolutely appreciate why they’re as highly thought of as they are.

Song Picks: Demons Gate, Crystal Ball

8/10

Control is the third studio album by American singer Janet Jackson, released on February 4, 1986, by A&M Records. Her collaborations with the songwriters and record producers Jimmy Jam and Terry Lewis resulted in an unconventional sound: a fusion of rhythm and blues, rap vocals, funk, disco, and synthesized percussion that established Jackson, Jam and Lewis as the leading innovators of contemporary R&B. The album became Jackson's commercial breakthrough and enabled her to transition into the popular music market, with Control becoming one of the foremost albums of the 1980s and contemporary music. - Wikipedia

Control contrasts nicely to many other pop albums by female artists in the 80s, such as those by Whitney Houston or Cyndi Lauper, in that it often has more of a focus on percussive power and energy than balladry. Tracks aren’t saturated with instruments blasting evocative chord structures, but instead have a sense of space, one which allows the cataclysmic drums to take centre stage. The album is more about funk and groove than it is about melody, and it sets Jackson apart from her contemporaries in way that is refreshing. While others blasted us with powerful vocals, Jackson blasts us with programmed, gated drums and funky bass grooves. It also features some superb guitar solos, which is a good way to my heart.

Song Picks: Control, You Can Be Mine, Principle of Pleasure

8.5/10

Skylarking is the ninth studio album by the English rock band XTC, released 27 October 1986 on Virgin Records. Produced by American musician Todd Rundgren, it is a loose concept album about a nonspecific cycle, such as a day, a year, the seasons, or a life. The title refers to a type of bird (skylark), as well as the Royal Navy term "skylarking", which means "fooling around". It became one of XTC's best-known albums and is generally regarded as their finest work. - Wikipedia

Andy Partridge’s ability to write a tune is evident from the opening Summer Cauldron (a song about a baby in the womb about to enter the world) and Grass (a song about ‘fumbling’ about on some grass). Recording was plagued with tension between Partridge and producer Todd Rundgren, the former apparently saying he wanted to embed an axe in the latter’s head at one point. The tension is somewhat audible, with the band and Partridge’s vocal sounding quite distant from each other. It’s that detached sound that gives the album a very unique feel though. A lot of these tracks would be a little kitschy (I’m looking at you That’s Really Super, Supergirl) if it weren’t for Rundgren’s grey production adding some darkness to Partridge’s ice-lolly coloured melodies, though the curveball lyrics help too. If you want a nerdier take on 80s pop, then you can’t go wrong with Skylarking.

Song Picks: Summer’s Cauldron, Season Cycle, That’s Really Super, Supergirl

8.5/10

9. Tinderbox

**Siouxsie & the Banshees**

Tinderbox is the seventh studio album by English rock band Siouxsie and the Banshees. It was released on 21 April 1986 by Wonderland and Polydor Records in the United Kingdom and by Geffen Records in the United States. It was the band's first full-length effort recorded with then-new guitarist John Valentine Carruthers; Carruthers had previously only added a few parts on the 1984 EP The Thorn. The first recording sessions for the album took place at Hansa by the Wall in Berlin in May 1985. - Wikipedia

As with 1981’s Juju, which I loved, Siouxsie Sioux’s vocals are in a class of their own, while the fact the guitars have stepped back a little bit gives the whole thing a slightly more ethereal feel. Tinderbox is one of those albums that is hard to get a grapple of, with the single Cities in Dust (about Pompeii) providing one of the album’s firmer emotional handholds with its great chorus. Tinderbox is the perfect mix of intrigue and accessibility.

Song Picks: Cities in Dust

9/10

Master of Puppets is the third studio album by the American heavy metal band Metallica, released on March 3, 1986, by Elektra Records. Recorded in Denmark at Sweet Silence Studios with producer Flemming Rasmussen, it was the band's last album to feature bassist Cliff Burton, who died in a bus accident in Sweden during the album's promotional tour. - Wikipedia

Widely regarded as one of the most influential thrash metal albums of all time, it incrementally improves on Ride the Lightning in pretty much every way, and that was already a very good album. The riffs are punchier, the whole thing feels more cohesive, and while Ride the Lightning felt more cerebral than visceral, Master of Puppets, although still leaning towards the former, hits a lot harder in terms of its production and riffs than its predecessor. Anyway, enough comparing, Master of Puppets is a truly great album in a genre that I have to confess to knowing little about. Hetfield’s vocals don’t have much range, but they do manage to add weight to the already heavy riffs here, and when he does crack out a more melodic part - such as on the excellent title track - it hits.

I’ve been a critic of Lars Ulrich over the years, largely because when I saw the band at Rock Im Park in Germany many years ago he was consistently well ahead of the beat, and even on these cleaner recordings he seems in a bigger rush than the rest of the band to me, denying the tracks some of the percussive power a more ‘relaxed’ drummer might have given them, which is a shame.

Nevertheless, Master of Puppets is marvellous. I find people are often too quick to call something heavy, but this absolutely qualifies. It sounds like a massive meteorite hurtling through Earth’s atmosphere.

Song Picks: Master of Puppets, The Thing That Should Not Be, Damage Inc

9/10

Reign in Blood is the third studio album by American thrash metal band Slayer, released on October 7, 1986, by Def Jam Recordings. The album was the band's first collaboration with producer Rick Rubin, whose input helped the band's sound evolve. The release date of the album was delayed because of concerns regarding the lyrical subject matter of the opening track "Angel of Death", which refers to Josef Mengele and describes acts such as human experimentation that he committed at the Auschwitz concentration camp. The band's members stated that they did not condone Nazism and were merely interested in the subject. - Wikipedia

Rick Rubin is now synonymous with the loudness wars, but his production here is perfect. Reign In Blood hits harder than Metallica’s Master of Puppets, and that’s going somewhere. This is real thrash metal, no-nonsense melodic acoustic breakdowns here, just pedal-to-the-metal blistering riffs, powerhouse drumming and Araya’s vocals roaring like an angry lion. I kid of course, melodic breakdowns are fine. Reign In Blood though wants nothing to do with them and thinks they’re a bootless errand. Reign In Blood is clearly keen not to waste your time, hence why it is only 28 minutes long, and not a second is wasted.

Song Picks: Altar of Sacrifice, Jesus Saves, Postmortem

9/10

The Colour of Spring is the third studio album by English band Talk Talk, released in February 1986. Musically, The Colour of Spring was a major step away from the synthesised pop of early Talk Talk, with a greater focus on guitars, pianos, and organs on such songs as "Life's What You Make It", "Living in Another World" and "Give It Up". It had a sound described by the band as much more organic than their earlier records, with the improvisation that was to dominate on their later works already apparent in the recording process. - Wikipedia

Is there a more sumptuous piece of 80s production than the opening Happiness is Easy? I think not. Webb’s bass groove, the variaphone and Hollis’ vocals all blend together to create something that is like audible honey. Hell, this whole thing is some gorgeous, sophisticated desert, like a fine tiramisu. Everything is tastefully done, and has had a lot of thought, but it at no point feels sterile. The Colour of Spring is one of those albums I’d not heard of at all that I’m really happy this challenge has introduced me to.

Song Picks: Happiness is Easy, I Don’t Believe in You, Life is What You Make It, Time it’s Time

9/10

Tango: Zero Hour (Nuevo Tango: Hora Zero in Spanish) is an album by Ástor Piazzolla and his Quinteto Nuevo Tango (in English: New Tango Quintet, often loosely referred to as his second quintet). It was released in September 1986 on American Clavé, and re-released on Pangaea Records in 1988. - Wikipedia

Piazzolla considered this his greatest album, and it appropriately marks zero hour for my adventure into any sort of tango music. Zero Hour is glorious, it rings with an energy and intricacy that never loses its feeling of rawness. I’d like to say it sounds like a dusty Spanish town on a hot day, where people have their windows open talking to each other across the street, but that would be incorrect. Zero Hour sounds like a couple dancing as that street interchangeably loudly and quietly collapses around them, until there’s nothing left but them in a desert of dust and rubble. If that sounds dramatic, just wait until you’ve heard this hauntingly beautiful record.

Song Pick: Concierto Para Quinteto

9/10

So is the fifth studio album by English singer-songwriter Peter Gabriel, released on 19 May 1986 by Charisma Records. After working on the soundtrack to the film Birdy (1984), producer Daniel Lanois was invited to remain at Gabriel's Somerset home during 1985 to work on his next solo project. Initial sessions for So consisted of Gabriel, Lanois and guitarist David Rhodes, although these grew to include a number of percussionists. Often considered his best and most accessible album, So was an immediate commercial success and transformed Gabriel from a cult artist into a mainstream star, becoming his best-selling solo release. - Wikipedia

So opens with Red Rain, a typically epic and 80s sounding Gabriel track, and one of my favourites. Though I think the live version from Secret World Live is superior to the version here, largely because I prefer Manu Katche’s drumming on the live track to the drumming here, it’s still a really powerful way to open the album. The album continues in a pretty forceful vein: gated drums, synths, and an exaggerated sense of drama helping bring a really 80s feel to the record. Sledgehammer is one of Gabriel’s most famous songs, and it brilliantly demonstrates his nous for huge sounding production (with backing choirs and a synthesised shakuhachi flute in this case) and playful melodies. Kate Bush features on the angelic Don’t Give Up, and excels in production perhaps a little less experimental than that on her own songs. In Your Eyes, ‘inspired by an African tradition of ambiguity in song between romantic love and love of God’ according to Gabriel, received a new lease of life when it played a prominent role in a scene in Say Anything…, starring John Cusack, is another one of the album’s famous tracks. A perfect love song that escapes its rather cheesy lyrical theme through yet more monumental production (this time including a clear African influence, including a great part in Wolof by Youssou N'Dour) and melodies to die for.

So is another 80s classic, from the man who had a knack for distilling the musical ideas of the decade (at least in pop) into songs that were catchy, huge, and interesting. Some say the album leans too much into the time, and feels dated now. I disagree, it’s a product of the 80s, and it wears that on its sleeve like a badge of honour.

Song Picks: In Your Eyes, Red Rain, Sledgehammer, Don’t Give Up, That Voice Again

9/10

EVOL is the third full-length studio album by the American alternative rock band Sonic Youth. Released in May 1986, EVOL was Sonic Youth’s first album on SST Records, and also the first album to feature then-new drummer Steve Shelley who had just replaced Bob Bert. In retrospective reviews, critics cite EVOL as marking Sonic Youth’s transition from their no wave roots toward a greater pop sensibility, while bassist Kim Gordon has referred to it as the band’s “goth record.” - Wikipedia

The first in what will be plenty of Sonic Youth albums appearing on these lists in the upcoming years is a paranoid and dark album of guitar chord drones and vocals that sound resigned to the ether. On Shadow of a Doubt Gordon whispers hauntingly over the plucked guitar part, before the other vocalists back her ever more paranoid screams during the chorus (if you can call it that). The fact the band has three distinct vocalists (bassist Kim Gordon and guitarists Lee Ranaldo and Thurston Moore) adds to the album’s anarchy. EVOL can be a challenging listen, particularly for those prone to anxiety among us. There’s a deep unease to a lot of the guitar work, Starpower features a superb riff that is both unsettling and enjoyable, while In the Kingdom #19 switches between a head-bopping riff and what sounds like an air raid (reminiscent of Hendrix’s version of the Star Spangled Banner) in a way that only Sonic Youth could make work. On Death to our Friends the guitar sounds so dissonant it’s as if it’s been found in an attic and never tuned.

EVOL is a dark chaos which has begun transforming itself into something resembling songs. It’s a masterful subversion of established genres to create something that sounds so punk, that you can’t call it punk at all.

Song Picks: Starpower; Shadow of a Doubt; Secret Girl; Madonna, Sean and Me

9/10

The Queen Is Dead is the third studio album by English rock band the Smiths. Released on 16 June 1986 in the United Kingdom by Rough Trade Records, and on 23 June 1986 in the US by Sire Records, it spent 22 weeks on the UK Albums Chart, peaking at number two. It also peaked at number 70 on the US Billboard 200, and was certified Gold by the RIAA in late 1990.

In 2020, Rolling Stone ranked The Queen Is Dead 113th on Rolling Stone's 500 Greatest Albums of All Time. In its 2013 list, the NME named The Queen Is Dead the greatest album of all time. - Wikipedia

I had a feeling as I listened to other albums by the Smiths that this one would end up being my favourite, and it is. The Queen is Dead does away with some of the consistency issues of previous albums (though I very much like them all) and is packed front to back with everything that makes the Smiths great. Johnny Marr’s riffs power things along at pace, and occasionally even add a dramatic sense of urgency to things, such as on the opening title track’s second half. Morrissey is at his melodic best, I’ve talked about his style being almost operatic, and here its singularity is coupled with memorable melody after memorable melody. The album also contains some of his best lyrics, ‘I’ve got the 21st century breathing down my neck’ being just one example of the many great lines on this record. Love him or hate him, these are some of the most memorable vocal performances of the 80s.

The drums and bass are on point too, aided by the album’s sleek production, no doubt as much the work of Stephen Street (who produced Meat is Murder) at the mixing desk, as it was that of Marr and Morrissey who are credited as producers here.

The Queen is Dead is one of the 80s’ best bands at their absolute peak, and its effect on all ‘indie’ music since can’t be understated, something made evident by the fact that the NME - who typically loves that genre - named it the best album of all time in 2013.

Song Picks: The Queen is Dead, There is a Light That Never Goes Out, Bigmouth Strikes Again

9.5/10

Graceland is the seventh solo studio album by the American singer-songwriter Paul Simon. It was produced by Simon, engineered by Roy Halee and released on August 25, 1986, by Warner Bros. Records. In the early 1980s, Simon's relationship with his former musical partner Art Garfunkel had deteriorated, his marriage to actress Carrie Fisher had collapsed, and his previous record, Hearts and Bones (1983), had been a commercial failure. In 1984, after a period of depression, Simon became fascinated by a bootleg cassette of mbaqanga, South African street music. He and Halee visited Johannesburg, where they spent two weeks recording with South African musicians. Further recordings were held in the United States, with guest musicians including Linda Ronstadt, the Everly Brothers, Louisiana band Good Rockin' Dopsie and the Twisters, and Los Angeles band Los Lobos. - Wikipedia

Objective reviews don’t exist - particularly not when I’m writing them - but this is an album that it’s particularly hard for me to look at with any distance. If I had to name one album that was the biggest part of my childhood, it’d be Graceland. My Mum had the tape, and I remember listening to it repeatedly on our drive to and from school every day in our old Volvo. It’s an album I know every word to, every nuance, and where the end of one song immediately means the intro to the next starts playing in my head. It’s been a factor of so much of my life that it doesn’t take me back to any specific part of it, but instead feels like the musical equivalent of the teddy bear I was given at birth. That guy still sits on my sofa by the way.

The idea of blending western music with South-African music sounds like some sort of gimmick, but Simon and his multiple collaborators here absolutely pull it off. This is a glorious blending of musical styles, one that soaks up another culture, rather than tokenises it, a beautiful testament to the artistry in diversity. It’s the musical equivalent of living in another country and adopting its culture rather than taking a tour bus, looking at the highlights, and returning with a head full of stereotypes. Throw into the mix fact that this is some of Simon’s best lyrical and melodic work since Simon & Garfunkel, delivered with a cadence like honey, and you get an album that is just a pure, effervescent joy. I don’t think an album has to be perfect to get a 10, but Graceland is.

P.S I think the title track is one of the most finely crafted songs of all time.

And she said, "losing love
Is like a window in your heart
Everybody sees you're blown apart
Everybody sees the wind blow"

Song Picks: Graceland, I Know What I Know, Gumboots, Diamonds on the Soles of Her Shoes, You Can Call Me Al,

10/10