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Ending the Relationship

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While clearing my garage the other day I came upon an old issue of Mojo with a cover story on REM. It was a 2003 issue and the band were deep into recording what was to become Around the Sun. They talked about the difficulty of recording after Bill Berry left and their hopes for the future.

At that stage they had plenty of songs (as usual) and they were trying to “keep things loose.” Around the Sun came out and I hated it. It was the kind of dislike that actually made me doubt the band and my enjoyment of their music prior to Around the Sun. It broke our relationship and I had only regrets.

I had a slightly similar experience with Van Morrison with his sequence of 90’s albums. I stopped being interested in anything he did and even the albums I liked had the whiff of his misanthropy. I distrusted him.

I’m wondering what album has broken your relationship? Bowie’s ‘Tonight’ perhaps? Joni Mitchell’s Chalk Mark in a Rainstorm? Street Legal?

Please explain why the relationship was broken. This can be a community of healing, too. Undoubtedly, some kindly folk will attempt to mend the relationship, point out wrong doing on both sides and hope for a reconciliation. I won’t ever like Around the Sun but I can listen (almost) to Out of Time.

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Comments

  1. Smashing Pumpkins – Adore (1998)

    I adored the band, bought everything, went to all the live shows in London, Reading Festival, Glastonbury. Mellon collie was a gem. A band at peak of their powers. Then the drug death, drummer sacked (who was a HUGE part of their sound. The. Adore came out. Still can’t bear to listen.

    Eric Clapton – Pilgrim (1998)

    Electric drums. Awful production, couldn’t bear it. Loved pretty much everything up to that point. Didn’t work for me and gave up on subsequent albums. I listened again earlier this year, wasn’t quite as bad as I remembered but not really for me.

    There must be others but they’re the two biggest offenders I can recall.

    • Ooh – Adore. I’m sort of with you on that one.

      I loved (and still LOVE) Siamese Dream, was mildly disappointed with Mellon Collie, (although I’ve since grown to appreciate it) and was hoping Adore would be a return to the multi-tracked guitar Valhalla thing, which quite obviously it was not.

      That said, it does have “To Sheila” on it, which I really, really like. It has this weird chirping crickets noise in the background, which is the sound of a warm Summer evening. Not coincidentally, the record came out at the end of my first Summer at university, so it’s probably a sense memory thing. I also really like the line “Lately I just can’t seem to believe/discard my friends to change the scenery”. Something about that really resonates with me.

      I agree that the band pretty much ended when they sacked Jimmy Chamberlain, although I guess they didn’t have a great deal of choice in the circumstances, which were grim indeed.

      That said, the next record did have This Time and Stand Inside Your Love on it, both of which were great. They were always a weird band.

      • Mellon Collie was where I got off the Pump Train. As much as I like 2/3 of it, it’s way too long, and signalled Billy Corgan’s descent into thinking he had ideas to share that really bore scrutiny.

        Needless to say, these days he’s the full Icke.

        Basically the minute an artist starts to think they’re A Thinker of Important Thoughts, it’s all over.

        See also PJ Harvey. I bailed at Let England Shake, which I maintain is legitimately embarrassing sixth-form bollocks and musically dull AF. (And not just because she doesn’t understand that you can’t use “maketh” with a plural subject noun like “words”. That song is called, effectively, “The Words That Makes Murder” and not only does she not know that, she can only have decided to use “maketh” to try and look clever, which is a real cringe.)

        • There’s a really good single album in Mellon Collie, but there’s just too damn much of it, in too many different styles. The fact that it has not one but four final tracks tells us all we need to know – some judicious editing was required.

          There are some absolutely magnificent tunes on there, but – for me – it just didn’t hang together as an album, and what I really loved about Siamese Dream is how albumy it is. The whole thing sounds of a piece, without being samey, and it’s the precise middle point between My Bloody Valentine and Grunge, which is a bit of a sweet spot as far as I’m concerned.

          I know you can’t just expect a band to keep doing the same thing over and over again – it has to get boring. But it was the first record they made that I didn’t immediately fall in love with. Wonderful cover though. And this was great…

          • The thing about MC is that when it’s good, it’s bloody magnificent, which is why it’s such a frustrating listen. Zero, for me, is peak Pumpkins: it’s basically just an absolutely vast pair of riffs roughly arc-welded together and then layered up with another 422 guitar overdubs. And it’s perfect.

            • Totally agree.

              I really didn’t like it at the time, but I also need to give props to Tonight Tonight. It was exactly what I didn’t want them doing, but it’s pretty ace – particularly that last insane gallop from 3’15 onwards. One of those rare rock songs where getting a string section in actually works. Great video to boot.

              • Yeah. The great thing about TT is that the strings are an integral compositional part of the song, not a Be Here Now add-on from the Lego box marked “epic”.

                    • You can get the best of Mellon Collie on an 80 minute CDR. I do love that album, I took the day off work when it was released (23rd Oct 1995 – Yes, i am THAT fucking sad :o) )

                      Knock off the weakest 5 tracks of your choice and its wonderful. For me anyway.

                      I have 2 cd versions, the cassette version, 2 versions of the original triple vinyl (neither has been on a turntable, one still sealed with a Tower Record Kingston yellow price sticker of £10.49 on the front,) oh yes, and the multi cd boxset.

                      I dont even listen to it that often but it has a place in my heart. Obviously.

        • I gave up on Pee J when Is This Desire? came out.

          I bought Dry, Rid of Me and To Bring You My Love on day of release and saw each tour at least once. Got both CD singles and all that.

          By Stories From The City etc, I thought she’d turned into Patti Smith. I’ve heard everything since, but usually only once.

    • Adore is the only SP album I still listen to. Mellon Collie is just too much work. Lots of great stuff, but also quite a bit of not so good stuff. Should perhaps give Siamese Dream a spin. Haven’t heard it in maybe twenty years.

      And I seem to recall I liked the first Machina album.

      • Siamese Dream is still insanely good. As much as being James Iha and D’Arcy Wretzky at that point can’t have been much fun, subsequent SP albums suggest that – musically at least – their input wasn’t doing anyone any good and that Corgan was dead right to be the band’s very own baldy Stalin.

  2. REM’s Up did it for me, although Around The Sun comes a close second. I acknowledge that some people think Up is a fine piece of work, but to me it’s awful. I forgave them though, and their last two albums weren’t at all bad.

    • I like Up. As an album its way too long at over an hour, but you cant fault Suspicion, Diminished, Parakeet, At My Most Beautiful. They are all worthy of going back for another listen, love them, The rest of the album? Yes, i could say not stunning but there’s a halfway decent 40minute album in there.

  3. For me, Jethro Tull had a series of tough-to-love albums after ‘Broadsword’, which I would still regard as the last album of the Great Years or however one would wish to refer to the 1968-82 period.

    ‘Under Wraps’ in 1985 – programmed drums, etc. But lots of interesting songs – including some of the non-LP stuff from around the time; it seems better in retrospect. If only it were remixed with real drums added…

    ‘Crest of a Knave’ 1988 – the ‘Dire Straits’-alike album, both vocally and guitarwise. A few songs that became classics, though the big one, ‘Budapest’, never appealed to me.

    Everything after that, especially ‘Rock Island’… I’ve hardly listened enough to be able to comment…

  4. The Drift was brilliant but after a few listens I realised I was merely doing my duty rather than listening to it because I wanted to. Reading the descriptions of the music he’s made since… I think it’s great that he can make the music that he wants to make. But I don’t want to listen to it.

    Who says that for a record to be good you have to want to play it again forever?

  5. I guess it’s time for one of my periodic defences of Around The Sun. As I have argued on here several times, it’s unfairly maligned and not half as bad as received wisdom would suggest; indeed, there is more than half of a decent album, with some really good, affecting songs. I must say I prefer the more reflective side of REM, and as such I rate it a lot higher than the much-lauded ‘return to form’ Accelerate, which aside from a clutch of standout tracks, I find a bit of a mess.

  6. My oft quoted love of Van Halen came to a shuddering halt on the release of their (not even sure about this) 4th album with Sammy Hager…the not at all good Balance.
    What seemed like a fresh start after the fallout with DLR had ended up in to my ears at least, a band lost in time.
    Grunge held sway and their brand of bombastic, flashy erm, flash was very much out of date.

    Secretly I hoped Eddie would break up the band and do a Gary Moore…tone down the (as Frank Zappa refered to Steve Vai) stunt guitar and go a bit bluesy.

    Oh course, the least said about VH 111, the abortion recorded with ex extreme singer Gary Cherone the better.

    I has SUCH high hopes for return of DLR a few years back but bloody hell….the game was up.
    Shit voice, shit album, shit gigs.

    But the icing on the cake had to be a live performance on U.S. chat show with Jimmy Kimmel.
    All DLR had to do was screech and gurn through the old stuff with possibly a halfarsed scissor kick.
    But no..the twat comes on stage with his twirly batton and promptly twonks himself on the nose.
    Bust nose, lots of blood…Eddie stunts and divebombs making time through gritted teeth before Dave returns to the stage with cotton wool protruding from his nose….very rock n’ roll.

    • I think Van Halen’s albums give diminishing returns after the first one. The first Van Halen album is probably the first 80s album, which is impressive because it was released in 1977. Van Halen II is also pretty good, Dance the Night Away is bottled sunshine, but after that they sort of stopped writing songs.

  7. I guess I fell out with REM late 90s, the albums were becoming dreary and they were washed up as a (vital) live band. In the last year or so I have fallen back in love with them at least tor the Murmur to New Adventures period (but I don’t play Monster).

  8. Scary Monsters (And Super Creeps).

    Which is a bit sad, because the subsequent Let’s Dance has a few stonkers. But I came to that album via the 12 inch single releases of the title track and China Girl and the fab Cat People, which were monsters of brilliance. You can keep the rest of it though; I can’t even remember what the other songs were.

    The horror dream that is Scary Monsters was my getting off point. I was knocked completely off track by its un-listenable howl. Too many drugs old bean. Too many bad drugs, come to that. Go away and rediscover your sense of fun Dave; back to the Arts Lab for a coffee and a fag, ‘ave a breather fer Gawd’s sake. I felt dirty, harassed and disturbed after the first time I heard it, which is not what I wanted 5 minutes before going down the pub. Put me right off it did. Too much like hard work. Never really got back on board (those slightly later 12 inch singles aside).

    • I love most of Scary Monsters (though the writing’s on the wall on side 2) and some of Let’s Dance. It was when I saw the video for Blue Jean on The Tube that I thought no, he’s lost it properly now. This was like a parody, such an ordinary tune being sold by some preposterous, drawn out little movie that attempts to distract from the shortcomings of the tune, and this is supposed to be a great, significant cultural event when clearly he’d run out of ideas.

  9. I clearly remember buying the Jam’s second album and being incredibly disappointed after ‘In The City.’ I returned it to Boots and had to claim it was a bad pressing because in those days you couldn’t just return something because you changed your mind. I never bought another Jam record after that. I bought the Style Council albums, though, and several of Weller’s solo LPs.

    • My relationship with that band ended at Heathen Chemistry, although it only started at SOTSOG. I was too young to go out with them at their peak and bought their earlier albums between the release of the 4th and 5th albums.

      • I did hear and enjoy Don’t Believe The Truth after the fact. I was no longer a fan at that point, but it struck me as a good rock album. The Importance Of Being Idle being a particular favourite.

  11. Iron Maiden – the “affair” ended after Fear Of The Dark and the departure of Bruce.
    It returned many years later with The Final Frontier.

    I have since explored the “lost years” (wasted years?) and can confirm that without Bruce, it wasn’t as good.

    • I saw Maiden live in 1993, the last UK tour with Bruce, the band was definitely not getting on. Janick had a meltdown at Wembley, and issue with his amp, he stormed off stage. Never seen a band soap opera on stage before but i wonder if there’s film footage and how they explain that and the tour when they finally cover that era in their retrospective look back at their career.

      I was in the fanclub, went to see the final show with Bruce at Pinewood Studios, “Raising Hell” again you could tell they were not happy with him leaving, tensions for sure.

      I bought the first single release with Blaze, not bad but his voice? Hmmmmm!

      Never bought those 2 Blaze albums until this year. They aint great. So finally 24 years later i saw them again at the 02 this year, sound was awful, the 02 I hate intensely. Good to see them again, in fact it was great but thats all for me in a live sense with Maiden. As for the albums the Bruce records since 2000 with Bruce and Adrian have in the main been very good, no complaints.

      • They’re a different band since 2000, a prog metal band really, and you get the feeling that they’re enjoying themselves being that. They come across as a band that are very comfortable in their own skins.

        • Indeed. I dont mind the prog to be honest. Long may they continue but wanted to see them this last tour just in case they call it a day soon. Not many tours left for sure, they seem to concentrate on festivals in the UK anyway.

  13. Metallica

    … And Justice For All did it for them.
    Plodding, drawn out, badly mixed.

    MAster Of Puppets is a highpoint never surpassed – they have come close (Black Album, last years Hardwired…To Self-Destruct) but never reached that high again.

    • But..But, Blackened, And Justice for All title track AND the mighty mighty One.?
      The album is worth its price for these three tracks alone.

      You are of course correct regarding the production, I remember the band defending its sound at the release. They said the mids were “scooped”.

      • Yeah, Justice is fine. Some moments of real greatness rescue it. And I like the Black album a lot.

        No, for me it was Load where I stopped buying. They won me back at Death Magnetic (horrible sounding and clipped though it is, the songs rock), and Hardwired is ace.

          • Good call!

            Got into Metallica just after the death of Cliff Burton. Bought “Master Of Puppets”,loved it and went back and got the previous 2 lps.
            Saw them at Donington 87 and,even though the sound was crap,loved them.
            “And Justice For All” was purchased on release day and I tried to like it but it was a struggle.
            Have to admit by the time “The Black Album” came out I was losing interest.
            “Enter Sandman” was obviously a classic but the rest of the album?
            Not for me I’m afraid!
            By the time “Load” came out I’d moved on.
            Saw them at Reading 97 though and they were still a fantastic live act.
            I have picked up the later albums when seen for a couple of quid but they’ve been played a couple of times max.

  14. Led Zeppelin III. Awful Plant songs.

    I tried again with Zep IV. Only slightly better, hopelessly marred by Stairway to Heaven.

    Never tried again. Don’t know a damn thing about the albums after that. But Zep I and Zep II I can still dig

  15. I’ve grumbled about this before but in the mid 90s, to me, Stereolab could do no wrong. Then came a fairly swift about turn, in 97’s ‘Dots and Loops’ from deep space Moog-saturated trance pop to endless, samey, bland, dull tinkling tunes, aimless ba-ba-ba’s and a total sense of letdown.

    • Ah see I really liked Dots and Loops – the first of the noodly, exotic synthy ones, and ‘Cobra and Phases’ is really good too that’s worth a revisit – trouble is after that the noodly stuff became the norm and I prefer the more economically produced, giddy pop thrills of the early stuff – and they were never quite the same after Mary Hansen died – understandably.
      Still love ’em though. Tim’s band Cavern of Anti-Matter are good fun and veer toward the soopy grooves of the early stuff.

  18. Talking Heads- True Stories. Loved everything that preceded it but this was a pile of shit from a band going through the motions. What crowned it for me was the single Wild Wild life – dreadful.

    Loved David Byrne solo and Tom Tom Club after the band finally split.

  21. U2 – Got into them for Joshua, i still love Rattle and Hum (yes, would have been a great single album, film shit but some great tunes.) Achtung is superb. Then? Well, the law of diminishing returns. I guess Zooropa was the start, Pop was bye bye! Although i did enjoy the Passengers CD with Eno inbetween. Has 2 great songs in Miss Sarajevo and Your Blue Room which stand up with the best of U2s songs.

    They’ve had “hits” since but really i couldnt care less after 1992. 25 years and counting, i dont expect to return.

    • Pop is one of my favourite U2 albums. I don’t care for them much, but Achtung, Zooropa and Pop are the only ones I find particularly interesting.

      • Enjoyed mid-period U2 as well, these D.Bob albums, plus Unforgettable Fire, minus large swathes of R+H. The Everything album was it though, never heard anything since.

        Tales Of Topographic Oceans is where Yes and I parted company, succinct before, sloppy after. And Weather Report, still good up to Night Passage. Billy Cobham, 3 albums worth hearing, mightn’t have bothered after that. Joni Mitchell, last quite good album was Mingus.

        Then there’s “late”-period Stones (mid 70s and counting), Pink Floyd (good up to Animals), Neil Young (nothing for ages now), Led Zeppelin (Physical Graffiti was half-and-half). Genesis and Talking Heads too, eventually.

        More recently, Steven Wilson with Hand. Cannot. Erase. I mean, fuck me, who told him he could sing?

  22. Rush – Exit Stage Left and Moving Pictures. Pretty much everything afterwards leaves me completely cold.

    Morrissey – loved almost everything up to and including Maladjusted. The Quarry comeback and beyond just sounds like dirgy sludge to me. Spell broken.

    John Martyn – the 80s and beyond. I can barely feel closer to an artist than JM in the 70s. Then he meets Phil Collins and tries to become a Poundshop Clapton. Ew, as my daughter would say.

    • Nooo Bartle, Moving Pictures is probably their best album! It’s Vital Signs isn’t it? I never used to like it but now think it’s great.

      I jumped off the good ship Rush in 1985 after hearing The Big Money. Didn’t buy a new Rush album for 20 years. I’ve since gone and filled in the GAP and guess what? I didn’t miss much. Rush in the 90s were a competent and slightly dull rock band. Something that doesn’t get mentioned in the documentaries.

      • For me it was the follow up to Power Windows (which still sounds ok), Hold Your Fire (which was lame apart from that track with Aimee Mann).

        Your description of 90’s Rush is spot on. I have a couple of them but would be hard pushed to name a track off them.

        Hemispheres to Power Windows for me.

        • @Hawkfall what I meant was that I bailed after Exit. Everything before is fantastic. Everything afterwards… not so much. I’ve tried with the ‘highlights’ they’ve put on the live albums, but Subdivisions, Red Sector A, Distant Early Warning, Big Money etc seem to be a different band to me. Not so much Canadian prog discovers Talking Heads as the Thompson Twins played at the wrong speed.

      • “Signals” is OK “Grace Under Pressure” is the one that I bailed at.
        Bought “Power Windows” in the Woolworths sale for £2.99 but didn’t buy a new Rush lp until “Snakes And Arrows” and that’s only because I was going to see them on tour.
        Like Hawkfall I’ve gone back and bought the missing lps but they don’t add anything to the canon.

    • Kind of agree on Mozzer, although I’d argue that Vauxhall is his absolute peak as a solo artist, and he’s only had a handful of decent singles since (Elvis Costello’s quip springs to mind). I still enjoy his live shows, although it occurs to me that the last one I saw was six years ago *gulp*. Even if the music became disappointing, we could always rely on him to be witty and incisive in his interviews and various pronouncements, but now he’s just your embarrassing, bigoted old uncle.

      • Agree on Vauxhall as a peak. Possibly his lifetime album peak for me. Any best of I put together for the car would have a few tracks pre and post tho. Like this beaut:

  23. For me it was DJ Shadow. I fell head over heels for him based on those early Mo Wax EPs. Then the Endtroducing album in 96 was just majestic.

    The lack of a quick second album made him seem almost legendary. And the little stuff he did release over the next few years (collaborating on the UNKLE album, the High Noon single, remixing DJ Krush and Handsome Boy Modelling School) were majestic.

    But that second album proper, when it eventually appeared. Ugh. Horrible clean sound with ugly 80s stylings.

    Time has healed things a bit. I can appreciate the best bits of that second album. And I kind of respect his vocal unwillingness to do an ‘Endtroducing 2’ (he’s right – it would have cheapened it).

    Now he’s kind of unrecognisable from the crackly mood merchant he once was. And fair play to him. To reference one of my favourite lines from The Thick Of It, he needs to keep moving forward… like a shark… or Bob Dylan.

    • Agreed. Endtroducing was earth-shatteringly brilliant. I can still remember the first time I listened to it, slack jawed and grinning, whereupon I immediately played the whole darn thing again, even louder. I sooooooooo wanted there to be a volume 2, and I still think it might just happen, though it won’t be called that or anything like it. But it needs a decade or more of uninterrupted crate digging before anyone can expect anything like it to emerge from his decks again.

  24. About a year after this record’s release, I saw it – new! – in a bargain bin for 50p.
    As I waited to pay, I had a good look at it and decided that I will, very probably, play it just the once and never again – just like all the other ones since the late 80s that I bought out of loyalty and because I was a fan. I put it back with all the others. Prince – Emancipation.

  25. Jackson Browne. Hold Out
    First , Everyman, Late for the Sky, Pretender, running on Empty then came Hold out. Even the title track is so so. I’ve seen him a few times since then, got some boots and played a few on Spotify but the muse has well and truly left the building.

    • Hold Out certainly is an unpardonable copper-bottomed stinker, Mr Wells. I agree there.

      But after Jackson’s muse left the building, it turned around a few years later and re-entered the building, in the form of “Lives in the Balance” and (particularly) “I’m Alive”.

  26. Suede’s album Head Music was just awful. The dark glamour of the first two albums had already been replaced with a poppier sound on Coming Up, but for the band who recorded The Wild Ones to stoop so low as to release She’s in Fashion as a single…it still hurts.

    In fairness, some of the material since they reformed has been good.

  27. I know this is not school…and perhaps I wasn’t very clear because I did say that I could listen to Out of Time but the sensation for me was that I actually doubted that REM were ever good. I could only hear what I didn’t like about Around the Sun in everything they ever did. So I didn’t like Stipe’s singing nor Buck’s guitar etc. I could only hear in Morrison’s voice a falseness and a self-righteousness. So a bit different from just thinking that an album was bad.

    Interesting that Junior mentioned Hold Out. I totally agree. I came to really hate his voice – his wavering, thin voice, the total absence of humour, nothing resembling a funky rhythm. So I came to dislike everything he did. I ended up feeling The Pretender was also a failure.

  28. Queens of the Stone Age – Songs for Deaf is an absolutely brilliant album from start of finish. Went back to Rated R and the first album which were almost as good

    Lullabies to Paralyse was overlong – a grower that never grew, bailed after the next one

    Also Public Enemy

    Everything up to and including Fear of a Black Planet fantastic. Lost it a bit on Apocalypse 91. Bailed when the punning album and songs titles took hold (Muse Sick-n-Hour Mess Age,
    New Whirl Odor etc)

    • Spot on about Public Enemy. I bailed after Greatest Misses… what a dog’s breakfast that was.

      Fear… seems to get bigger every time I listen to it… one of the best examples of what duzzent kill yer meks yer stronger.

        • I heard that album when it came out and thought it was tragic, like a group trying to be Public Enemy. Chuck sounded so… tired.

          Thankfully there hasn’t been an hour of Moose Sick since the early hours of New Year’s Day 1991.

  29. Goldie’s early work with Metalheadz and Rufige Cru was great when the jungle scene was really exciting and something I still heard via club nights and mixtapes, but if the debut album Timeless seemed a bit overdeveloped, then Saturn Returnz ( with the orchestras and 60 minute track) really was dreadfully pretentious and marked a change in direction. He seems happy and respected now, but I wonder about what he might have otherwise done.

    • This is a really good one. If memory serves he went off to be an actor for a bit shortly after Saturnz Return, so it was definitely a bit of an end point. He has done some decent stuff since, though nothing to match up to the very early days.

      I do still love Timeless though.

      • I worked with his producer/co-writer in the Metalheadz days. Bob was a placid bloke but he and Clifford Price fell out and he quit the deal. At which point Goldie became a household name but couldn’t follow it up, and Bob set up Moving Shadow. I often wonder how much of Goldie’s early success was down to Bob’s musicianship.

        I doubt Bob regrets leaving his job at the factory. He was driving a brand new Merc by the time he did.

  30. Another one that comes to mind. Flaming Lips totally went off the boo with Embryonic. Should’ve guessed with that title as the songs were pretty much demos, and not at all fit for human consumption. Just to probe that the band were ‘down with the kids’ they had Karen O on the album. However she is LITERALLY phoning it in, as in she didn’t even bother turning up. Bloody lame, I tells ya!

  31. Weller solo? Might’ve been mentioned above but for me after Stanley Wood i struggled. Both that and Wild Wood were sooooo good. I have gone back and bought most of the subsequent releases as and when i see them cheap in Fopp. I dont quite get how all the later albums seem to get a great review. Even 22 Dreams, i have bought it but i dont quite get it like most others do. Its like Stanley Road was my goodbye. Maybe in time, i’ll force myself to listen to them again. The last song of his i truly liked was Peacock Suit. I do try, honest!!

    • As Is Now is at least the equal of Stanley Road (honest!).
      I might be alone with that thought. Mind you, I prefer Heavy Soul over Wild Wood.

      And Sonik Kicks the pick of the later years

  32. I think Crack-up as done me for the Fleet Foxes. Helplessness Blues was the last CD I bought without hearing any of the tracks. Thankfully I checked out Crack-up on Spotify and thought it was a mess. I think maybe I just lost interest.

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