The National have a new album coming out next month, and for the first time I find I’m not that bothered. The first single ‘Tropic Morning News’ is… fine. They’ve released another two songs from the album in the last few weeks and I hadn’t even bothered to listen to them until I started writing this post. They are similarly… fine. It’s always disappointing when a favourite band fail to deliver. I think most would agree that The National peaked with Alligator/Boxer/High Violet, and I quite like Trouble Will Find Me, but it’s been diminishing returns since then. They’re also touring but have stepped up to arenas, so I don’t think I’ll be seeing them this time.
So – have you parted ways with a favourite band? Or do you keep buying the records and going to shows out of some sense of loyalty?
Here’s another, New Order T-Shirt:
Speaking of whom, New Order. My first proper gig and I saw them… I lost count how many times, over the next decade.
I stopped buying everything when World In Motion was released, but eventually bought every back-catalogue CD single*, for buttons, years later. There are many I’ve never played more than once, and some even less than that (I’m looking at you, Lost Sirens).
I have bought each of the Super Deluxe Editions released so far, but I think even I might baulk at a SDE of Repbublic. And anything after 1993, absolutely no chance.
(*) I realise this leaves me open to piss-taking, but I am a realist, whilst I simultaneously live in the vain hope of something worth hearing twice.
This is the problem of standing in the shadows. Music Complete is a very listenable album, and had it been sold to me as the new one by – let’s say Cut Copy – I’d have no quibbles. But it’s not, it’s by the band who made Low Life and Power, Corruption and Lies. I did buy the extended mixes version of Music Complete on CD, so I guess I am still signed up.
I’d go as far to say Music Complete is their best since Technique. Crikey!
Damning with faint praise, that.
Now that I think about it, that’s very true @fentonsteve
How about “It’s ok. There are a couple of good tracks on it?”
Indeed – Technique was where I lost faith with them. Very average.
@salwarpe
My “It’s ok” comment was about Music Complete. I think Technique could be my most favourite NO album overall.
I won’t try to dissuade you. I just don’t think there’s anything on it to match the majesty of many of their previous songs.
Again, I think you might be right! Rather boringly, maybe it’s just their most consistent album?
I like it, but I usually skip the first track.
They are in a category of best album is a compilation, which is known as Substance in this case. A singles band whose singles benefit from being extended sometimes. Low Life is a candidate for best album not a compilation although originally Perfect Kiss was truncated which is a crime. Technique is consistent but a bit more standard indie without the sparkle and dance euphoria aspect that the best singles have.
In reply to @fentondteve below…you make a good point. Worst track on the album.
By now, PaulW would normally have chipped in to defend Republic. He’s right, it isn’t as bad as I make out, but I can’t get over the sense of disappointment when I first heard it. It has been 30 years, and I should really move on.
Having trouble with my replies but Tepublic…I should probably move on too. I remember the first time I heard Tegret. On the A6 between Stockport and Manchester after work at Our Price. This is hood I thought, can’t wait for the album…
I think with Diddley’s comments I can lay to rest my issues with technique – it’s comforting to find someone else who can express what I think in their own words.
As for Republic, I already posted last year my favourite discovery from that album
Technique?? Loved every second of it right from first hearing. Fitted perfectly with the times, the sound of a “guitar and some technology” band fully embracing their Ibiza experiences. It’s got some of Sumner’s best vocals on it too.
Republic has worn well. Its best bits are excellent but it’s bad are some of the worst music they made.
I gave up buying NO after Get Ready so stuck in quite late. They aren’t NO without Peter Hook so whilst Music Complete might be a half decent album, it’s basically Bad Lieutenant 2
Preferred the Old Order, myself.
Looking forward to The Order That Is Yet To Come.
Loyalty. Pretty much always loyalty.
The Church have recently released their 753rd album The Hypnogogue. To mass hysteria on here.
I like it. It’s ok, I’m trying to like it more. It’s no Blurred Crusade, Seance, Starfish or P = A. But it’s ok. So, yep, loyalty.
I’m probably kidding myself a little – I suspect loyalty (or at least curiosity) will get the better of me and I’ll buy the album eventually. Just not very enthusiastically.
I’m intrigued to know if you did @wilson-wilson
Ive probably played it 10 times. I like it. But it’s No Starfish, Blurred etc.
AND there are currently no UK or proper European dates, grrr
The Church came to mind for me too.
Go for it Junes. Kilbey will love you forever
I don’t own any music by The National and I don’t think I’ve heard anything by them up to now.
I’ve just listened to those two tracks above and I quite like them.
Whether I’ll follow up buy buying the new album I don’t know. I have way too much new music to listen to.
@Baron-Harkonnen I have 3 National albums I will gladly give you the next time we meet up. Might even throw in a Wet Leg compilation. Don’t think I played any of them more than once.
Wet Leg 🥸
The Manics, I was a committed fan from a teenager, although I only bought the whole back catalogue after A Design for Life so I admit I’m a Johnny come lately. Pre internet, pre ebay, I sought out as many of their CD singles to plug the gaps, and they were almost worth the effort (if not the stupid amount of money) expended.
They are one of the greatest b sides bands and that period had many bands whose b sides were also incredible Suede, Oasis and Radiohead packed their extra tracks with high quality, no filler reputations.
I purchased almost all I could find, but the last CD I went to the shop for was 2007s Send Away the Tigers, a joyous album with legitimate monster pop smashes, well at least one.
I think I’ve streamed every record since, what with Spotify launching in or around 2009, and I haven’t enjoyed a full CD theyve put out since then, let alone been moved to purchase a copy.
I don’t realy know why. Arguably their muse deserted them, they’ve never really updated their sound and possibly listening fatigue maybe. The sense I’ve just heard enough? I don’t think I’ll ever really get into them again but the those first 6 albums particularly are like a comforting old friend,instantly redolent of adolescence, teen dom, or should that been Teen Doom?, and early adulthood as to be largely insuperable.
I beg to differ, at least 2 of their greatest albums in this period. Journal for Plague Lovers and Futurology.
A good rule of thumb is every second album is superb, at least after This is My Truth. However I think the last 2 have been disappointing, but JDB’s solo album Even in Exile in-between is brilliant.
I apply the every-other rule to post-1993 The Waterboys.
With Room to Roam being a clunker?
No, I love it, and 1993’s Dream Harder. Loved Mike Scott’s 1995 solo album, hated A Rock in the Weary Land. Gave up after Modern Blues.
Remained a great live act though.
Not sure whether they still are post-Steve Wickham.
Will find put on July 14
@Jaygee you may be pleasantly surprised as Brother Paul is a brilliant keyboard player and something of a showman. In many ways Steve Wickham was too and there wasn’t room for both. Incidentally I saw Steve Wickham live last year and he was really poor which was a massive disappointment for me.
@SteveW
Saw TWBs a couple of times at small venues in Galway with both Steve W and Brother P and they were excellent both nights.
Missed SW when he played the 200-seat local arts centre here in Roscommon last year, but from what you’re saying, it’s probably just as well
All excited re seeing Eels yet, Steve? The 27-song set from last night’s Roundhouse show looks fab.
Dream Harder was where I finally stopped listening even if the single “Return of Pan” (?) was ace.
Room to Roam WAS a clunker! Or at least the live iteration was. At Highbury Fields. Awful fol de rol and no Big Music.
Sadly there is a massive fiddle shaped hole in the post Wickham experience, at least live. And no amount of Brother Jimmy, sorry, Paul, vamping on keys can close that. Or the rock god posturing of Scott, high kicking every 5 bars or so.
@retropath2 I think you are wrong but will let you know in October
I agree with Retro re: no fiddler but disagree re: Brother Paul. The Waterboys ain’t the same without Steve Wickham but Brother Paul does add something to the band.
Did The Waterboys release any great albums after Fisherman’s Blues? Of course they did: Dream Harder, Weary Land, Mr Yeats and Modern Blues are all great. Some of the other band albums are good, Room To Roam for starters. I have never really liked Mike Scott’s solo efforts.
Had a similar experience with The National; think they probably peaked with High Violet, or maybe just hit the stage where I’d heard enough from them that I didn’t need much more.
That said, I do tend to keep half an eye on them as every now and then they still produce something great. Not least the excellent Taylor Swift collabs, and this with Bon Iver from only last year…
See, I had a similar thing with Bon Iver, loved the first three albums but couldn’t summon any enthusiasm for the last one, so I’m not surprised this passed me by! It is good, though, maybe there’s still hope for them both!
They need Taylor. We all need Taylor.
Amen.
Oasis. They generally get a good kicking around here, but their first album is excellent, second one pretty good and loads of great B sides around this time. Pretty clear that Noel shot his load very early on, I bought 3 or 4 after this until I finally realised they were terrible.
Also R.E.M. I kept buying all the albums post Berry but in the end gave up and didn’t bother with their last two. Was almost relieved when they broke up
The second Oasis album was queueing-around-the-block huge, and I agree about the great B-sides. I honestly can’t name any LP after the third one, though, but that’s just me. A quick internet search reveals they did seven studio albums, which I’m surprised about.
They’re an odd bunch, in the sense that they became a heritage act after two albums. When they reform for Glastonbury 2026, I don’t think anyone will be waiting for tracks from Dig Out Your Soul.
I don’t think it’s a heritage act situation at all as they had about 5 number 1s after the first two albums, and even their singles that didn’t hit the top of chart are really well thought of generally – Stop Crying Your Heart Out, Stand By Me chiefly among them.
I think that most fans whether they are obsessives or more casual would rather not hear all of DM and MG (their first 2 records) played live to the detriment of all the rest of their discography.
All their albums hit no 1 too (and most are million sellers) so they are all relatively well bought and, I would wager, listened to not infrequently.
Elvis was getting to No. 1 in 2005 with sales of 22,500 – they were pulling them from the shelves at one point to stop them getting to No. 1!
There must have been No. 1s around that time that were selling less than 10,000.
I’ll politely disagree – I think even pretty hardcore Oasis fans (and I know a few) would be delighted with a mixture of the first two albums and b-sides. As for the casual fan, I can’t imagine any of them calling out for Shock of the Lightning, Let there be Love, Lyla, or Falling Down (I had to google these). The only reason Stand by Me is in the public consciousness is because it’s on that bloody awful bank advert.
I agree they were still getting to number 1, but I’d argue that a lot of people were buying those singles in the hope that the b-sides might be decent. They certainly did still shift some records, but they sold more copies of their second album than the following six combined.
I just looked up the youtube numbers alone on Stand by me 113 million views, Stop crying your heart out 135 milllion.
Not a scientific poll, but that’s many, many many millions.
I think public concert goers of any stripe would be perfectly fine listening to these songs performed.
Falling down is absolutely great by the way, other opinions available.
All the best.
I think I’m rather guilty of solipsism – as Oasis disappeared from my view, I probably wrote them off quicker than others would. No offence intended in my post, Matt – I’d definitely defer to a fan’s opinion rather than my own.
I don’t much like Oasis, either, although I did end up buying the first two under peer pressure. I can appreciate them for about 10 minutes, tops – won’t turn off if they’re on the radio. I still like Whatever, or I did the last time I heard it (probably 20 years ago).
I won’t bother to repeat my Oasis vs. Mother Earth story.
I agree on the greatness of the first album.
Morning Glory was a triumph of adulation over substance – there’s plenty of good stuff there, but not enough to make it truly great.
I may be the only person who could make a case for Be Here Now, and certainly the only person who’d argue for Standing On The Shoulder Of Giants.
The best Oasis album is The Masterplan (a collection of B-Sides)
@dai I agree but would dearly love a Michael Stipe solo album
I believe (ha!) one may be forthcoming this year.
I’ve been a fan of REM since the beginning and bought all the albums but somehow a Michael Stipe solo album doesn’t appeal to me.
Me neither
I’d be interested in hearing a Stipe solo album too. I thought No Time For Love Like Now, the solo track he “released” during one of the lockdowns, was touching and showed promise for what else he might have up his sleeve.
Fabulous song. A number of YouTube versions. This is my favourite
Note, given the National comments further above and below, added Dessner.
Oasis never really did that much for me although track one, side one of their first album “Rock and Roll Star” is a good tune. As a statement of intent it pretty much nails it for them. Funnily enough I also really liked what seem to be two of their more derided later singles, Go Let It Out (where Noel had obviously listened to a couple of minutes of The Beta Band, and Lyla, which a right old stomping glam racket.
I’d be happy with a single: Rock and Roll Star on one side, Cigarettes and Alcohol on the other. Double A-side, of course…
I cannot tell you how much I am with you on this one @Wilson Wilson.
The National are a band which I have always loyally followed & for years classed as my favourite. I’ve also seen them live more than any other. However, this enthusiasm seriously started to wane over the last few albums to the point that I didn’t even bother going to their gig in Manchester last year. They have gone from being an exciting live band to really formulaic & incredibly dull.
The new one has been ordered, but if it gets taken out of the cellophane i would be surprised. I’ve purchased more to complete the set than anything. This new stuff is really soulless to me & lyrically piss poor which is something I thought I would never say about them!
I will always treasure the memories of some great albums & gigs, notably around the release of Alligator & Boxer when they were superb.
@seanioio yes, formulaic and dull is about right. I’ve seen them play some amazing gigs but the last couple of times I was getting a bit fed up with Matt’s shtick.
Thirded.
I’ve always loved them. Not sure of their songwriting methodology but, to my ears, it feels like an interesting band sound has been steadily homogenised as either of the Desner brothers have taken the sonic reigns. Their excellent, excellent drummer has sat lower and lower in the mix at the expense of chittery Radiohead style programming which all blends into one sonic thumbprint. I’ve always loved Berninger’s lyrics but on these songs he looks to be trying elevate the mundane and random observational style into something meaningful, but some of it just doesn’t hold the weight of the profundity of delivery.
Maybe the Dessners’ success with Swift (gotta be a quid in that) and them owning their own studio means they might as well keep going and riding the train, but sounds kinda dispassionate to my ears.
With a trim, Trouble… and Sleep Well Beast were very good but flabby records. I Am Easy to Find had a moment or two but seemed to me to be Sleep Well Beast offcuts, elevated to ‘proper’ album status by the associated short film and the ‘hook’ of featured female singers.
They’ve always been an album experience for me, so I’ll reserve judgement for the whole piece, but the singles are, as some are saying, fine.
I totally agree about the drums, Bryan Devendorf is such a brilliant, inventive drummer and it feels like there’s very little of him on recent records. I do wonder if Aaron Dessner spreads himself too thin, it feels like there’s a constant stream of collaborations from him. Next up, Ed Sheeran!
Another band this has happened to me with is James.
I am a big fan of theirs, but the last few albums have consisted of one decent song & then 11 shite b-sides. They have a new orchestral reimagined album out shortly, but from what I have heard so far it just accentuates how weak Tim Booths voice is these days.
James give good festival though.
I saw them on a warm up before the Sit Down tour (whatever it was called) and they were astonishing. Later on in that tour I saw them in Middlesbrough and you could feel they were about to become massive. Brilliant.
Next saw them (I think) at Latitude where they were low on the list before Mumford and bloody sons. They seemed pissed off and not terribly interested. Then they started headlining the minor festival circuit, and seem to be enjoying it.
Obviously have a high opinion of themselves but live it works.
Not bought a record of theirs for decades though.
I saw James live for the first time last year and thought they were amazing.
The last time I saw James he was pissed as a rat in The Golden Lion.
I liked James right from the early Factory/Sire/Rough Trade period and they were utterly fabulous back then. A kind of spindly but jangly explosion with an amazing drummer (Gavan Whelan) who ended up leaving/being kicked out, following which, they were never quite the same even if they were sometimes still capable of some great moments. Live they were an inclusive, joyous celebration. I’d still thoroughly recommend the first couple of Sire albums (Stutter and Strip Mine) plus the live album One Man Clapping is spellbinding. The original Rough Trade single version of Sit Down is far better than the abomination that became a student disco staple and it had a great b-side in Promised Land. Both on youtube I think. After that they tried to become a bit of a Madchester meets Simple Minds thing which became a bit embarrassing. I jumped ship at Seven. However, having seen them at a festival last year I thought they were terrific fun and may well go again.
Ditto. I bought the Village Fire EP and Stutter, and Strip-mine on a coursebook-buying trip to Oxford shortly after arriving at university (in Reading – one of my Halls neighbours had a car).
I thought they blew The Cure off stage at the Crystal Palace Bowl in 1990. I’ve seen them live since, but only need a best of.
Because of the quirk that they “share” a band member with Oysterband, I always think I should investigate. But I loathe that Sit Down din. Or at least as I learn, the single mix/version. Where should I start? (Adrian Oxaal plays guitar for James and cello for Oysterband.)
If you want a James record featuring Adrian (1995-2001, 2015 to present) it has to be 1997’s Whiplash. Although that wouldn’t be my first choice of James album (fairly close to my last choice, tbh).
Adrian’s mum used to be my teacher in Hull. And Saul Davies is the son of one of my ex-managers in charidee work. I’m practically Pop Royalty, me.
The Village Fire EP is great because it’s got both What’s The World and Hymn From A Village on it.
I saw James so many times from about 85-91. I had a mate who was stage crew at Lancaster University and went up to help shift equipment etc when they played up there in early ’90. Ended up cooking them a veggie curry for their pre-gig meal and having a chat with Tim Booth, Larry Gott and Jim Glennie. Nice guys all, and they deserved the success that was just around the corner.
Neil Young. I’ll just leave it there…
Lambchop.
Remember reading an excellent review of Nixon in the Sunday Times when I lived in Kenya about 20 years ago. Subsequently ordered a copy only to have to wait ages for it clear Nairobi’s molasses-like customs.
Loved Nixon so much I bought the next 5 or 6 Lambchop albums on the bounce to see if they could bottle lightning for a second time.
Sadly, they never did.
I’m the totes oppo to you! I heard New Cobweb Summer from their Is A Woman album as featured on a Word CD, loved it, bought the album and loved that (still do, a flawless album), decided to investigate further, read that previous album Nixon was their best, bought it, found to my surprise that it didn’t interest my ears at all.
@Gary
In fairness, IAW is pretty good.
I guess you thought Nixon was unimpeachable.
VVG.
It’s easy! It’s whenever I order and buy the latest release, unheard and unreviewed. From Selling England By The Pound, Brain Salad Surgery thru to the last Soulsavers, from Fairport to, yes, The National, I have fallen for each and eventually come a cropper. So I now stop after realising I have two or three on the trot. By anyone, even when I am wilfully cutting off my nose, having turned it up on principle, for a later acknowledged corker.
This happens with most acts eventually doesn’t it, so long as they don’t split up before the rot sets in? Sometimes even the good stuff loses it’s appeal. You just stop listening but remember certain records with affection. You might miss a late career return to form though. I’ll take the chance. If it makes end of year lists I can give it a try then. I don’t believe in loyalty. I think you have your imperial phase, when you are riding high but mostly that’s it, and that’s rare.
Last two Paul Simon albums were amongst his best. Thank God I didn’t give up in him after the shite that was the Capeman.
I was big into JAMC for a few years. Psychocandy till Automatic. They lost my heartfelt enthusiasm with Honey’s Dead, which I thought was ok, but unlike its predecessors it wasn’t “special”. Stoned and Dethroned was also just ok, with some good bits. They lost my contribution to their finances completely with Munki.
Rainbow had me hooked with Rising, Live On Stage and LLR&R. I’d have bought the next 25 albums happily if they’d been anything like. But they went and swapped Dio for Bonnet, epic rock for TOTP, and lost my heart and financial support with Down To Earth.
I think we should have a “Bands who were actually two different bands (not at the same time) that didn’t sound too much like each other”.
The thread title probably needs some work. Rainbow would be on it. And Genesis. And practically any band about who you have to say “I like their 70s stuff”.
Queen.
Their greatest hits sounds like a various artists compilation.
(Not a huge fan but credit where credit due – they had some big hits)
Yup there’s the ‘no synthesisers’ Queen, pretty much up to Greatest Hits, then the Queen who embraced 80s technology who were much less inventive musically.
AC/DC – Bon vs Brian.
Yes, the musical backdrop doesn’t change too much (if it all?) but lyrically Bon songs are more inventive than Brain Johnson’s – Back In Black is Brain’s peak (unless it was part written by Bon as rumours suggest?) but a few tracks hit the heights, but most are re-writes around the same theme often involving Rock or euphemisms for shagging
It is weird to think of how much nobody cared about The Mary Chain in 1998 around the time of ‘Munki’…..they made a good decision to split up for 10 years and then get booked higher up festival bills etc.
@gary
Rainbow is an interesting one. Almost a completely different band or style of rock with the change from Dio (what a set of pipes!) to Bonnet (what a haircut!) A know which era I go back to when I need an itch scratching.
Elvis Costello. Loved the earlier records, but after Spike it was over for me, and I don’t even listen to the older albums. Hard to know why.
Almost identical for me
Spike and Mighty like a Rose are both exceptional. Juliet Letters is his nadir but even that has The birds will still be singing.
@SteveT An ex claimed The Juliet Letters to be her favourite album and got it for me as a gift. To my shame I never played it, maybe that’s why she is an ex…
Nadir? It’s gorgeous.
Couldn’t agree more! There was always more to it than just “punk catalyst”…
I can listen to some of Costello’s stuff after Spike but I can’t usually do a whole album. I think someone told him he was a “singer” around that time and for me he just sounds like he’s overdoing it. Maybe it’s the production…his voice always seems to dwarf everything else these days.
Yep, me too. Spike was my last, although I had missed a few before that. I picked up the CD with Burt Bacharach for pennies years ago – it wasn’t worth it.
Looking back, he started downhill after Armed Forces.
Definitely @NigelT the Bacharach album really is a bit much isn’t it? Overwrought and oversung again. A shame as it ought to have been so much better.
And now available in hugely expanded Super Deluxe Edition. Has EC not heard that phrase about over-egging the pudding?
A really horrible listening experience. Sheeeeeeeee 🤢
Nah he peaked after (the rather average) Armed Forces, Get Happy, Trust, Imperial Bedroom, a great run
But…King Of America.
And… Blood & Chocolate, which I think is (one of) his best. I went off him again fairly quickly after that, though.
Richard Thompson. The artist I’ve bought the most. Haven’t bought the last few albums and ones I’d bought before had diminishing returns.
Probably into treble figures seeing him live, a friend messaged if I’d bought Alexandra Palace tickets for his next tour. I was contemplating it so that I could see him in Muswell Hill then decided I didn’t want to see him solo again. I’m also not keen on him with his current band much as I like Michael Jerome.
Much better live than on record, I didn’t ‘get’ him until seeing him at Cropredy in 2017. Mesmerising on stage.
Arf! I have “given up” on both RT and Fairport so many times over the years, vowing never to bother again, either live or on record. And then I creep back and, again, they become a revelation. Fairport, it is true, offer little now orf recorded worth, but the reprise of Full House is tremendous. And RT just keeps pulling one surprise out the hat after another. altho’ he could rest his current acoustic solo set, it seeming the to be the same for a long time now. The last electric tour, with his trio, not the pick-up Cropredy players, who can play it to perfection in their sleep, and sometimes do, was incandescent, but, ironically, it was more Michael Gregory I had my eyes on.
Mr Gregory plays with Home Service etc it’s Mr Jerome you are thinking of.
I did the same the last time I saw the trio watching the drummer not Thompson.
D’oh. Indeed.
@Retropath2
Surely Tommo swapped his hat in favor of a surprisingly chic Frank Spencer-style beret several years ago
Heresy I know, but the 2022 live Full House beats the original for me. I was down the front at Croppers as well, so I am probably on it too! I always did have a bit of a problem with Swarb’s vocals on Fairport’s 70s output to be honest.
I’m with you all the way on Swarb’s vocals…I thought it was just me!
The Vaccines – great debut album, the next 3 were pretty good too.
The fifth in 2021 passed me by, and I’ve never been bothered to seek it out.
The Jam split in 82, and apart from a couple of tracks I found no great interst in The Style Council.
Paul Weller solo, and I was back on the boat.
As time passes, I appreciate The Style Council more but not as much as before or after TSC times
There’s the Jam comment! Find mine below @rigid-digit, should have posted it here.
I stayed after The Jam, right through The Style Council and up to Heliocentric only since the majestic On Sunset have I been catching up on the ones I missed. Several still to go….
With me (and I suspect a lot of other AWers) it’s a kind of gradual tapering off.
You spend the best part of 30-odd years slavishly buying every “official” release.
There inevitably comes a point where diminishing returns have set in. Soon
you can’t be arsed to buy that latest in a long run of much-ballyhooed “returns
to form”.
After that, it’s pretty hit and miss. For every Prairie Wind there’s a Letter Home or
Fork in the Road and for every Healing Game there’s a What’s Wrong With This
Picture.
Still buy probably one in two new NYs releases. Moving on Skiffle is the first Van
album I’ve bought for about 10 years
I love Moving on Skiffle – Tremendous album especially Rocky Green road which is the best thing he has done in years.
Yes, it usually tapers off, a couple of albums bought out of loyalty before disillusionment sets in. I’m going to see eels this weekend – they’re still a great live act, but I think the last album I really loved was Hombre Lobo in 2009! The subsequent albums aren’t terrible, but maybe I already have all I need from them.
Prince.gave up after emancipation.a great run up to lovesexy.after that every album press release was telling us it was his best since purple rain.very prolific but could have done with a bit of quality control.
I agree with the ‘quality control’ in general, but I think that 3121, Planet Earth and Hit & Run 2 are very worthy inclusions in the canon. The others also always have one or two outstanding songs.
I never heard those albums but I saw prince at Glasgow hydro on the hit and run tour in2014 so he may be played something from those.im reading the prince book all the songs at the moment so my interest has been piqued by that.next time I’m in a hmv or fopps ill grab a couple of the later ones I’ve heard that musicology is quite good as well.also the acoustic album the truth is meant to be excellent.
I’m not a great fan of Prince but I think the posthumous album, Piano & A Microphone, is very good.
What we really need – apart from a Parade Superdeluxe Edition – is an official release of his Piano & A Microphone Tour from 2016, the final tour.
On the Hit &Run tours he focused on the PlectrumElectrum album he made with his newly-assembled all-female rock band 3rd Eye Girl. I thought the tour and album were a lot of fun and typically unpredictable. He released another album on the same day that year, ArtOfficialAge, which as usual has some very decent songs but an iffy, sterile production. The Truth is one that as a hardcore fan, I should really say I love – it’s Prince, solo, acoustic, what’s not to like? – but truthfully, it doesn’t grab me as I imagined it would. Musicology’s ok and was hugely successful in the US – his big comeback! – but the usual story, some great songs, some meh songs. The best track is the final one, Reflection, which is acoustic and brilliant – and even better on this live version with Wendy.
https://youtu.be/JRz8sre4VXY
I think Emancipation is a great album and 3 CDs at that.
I don’t think it’s a coincidence that Prince’s imperial era ended when the CD became the main format for albums over cassettes and vinyl. His albums basically became 60-70mins rather than 40 mins. If you convert Diamonds & Pearls, Lovesymbol, The Gold Experience etc into 40 min albums they hold up pretty well against the 80s stuff.
For example, I like Lovesymbol, but you can’t listen to it in one sitting. It’s 70+ minutes, and there are at least two different albums in there.
I totally agree with your length of album comments.iwould always prefer a ,35-40 minute old school album.basically a lot of releases today are double albums on cd.good on a compilation type release or live but too many tend to go on a bit.
I’ve been buying the non-purple period Prince Cds second hand.
Ever medicore Prince is pretty good. And some of it is excellent (I LOVE Baltimore from Hit n Run phase 2)
But I agree much of it goes on too long and would be better split.
Quality control was never Prince’s thing.
Aye, Baltimore. And I’d add Rock ‘n’ Roll Love Affair, such a cool and seemingly effortless groove (man!) and smart lyrics:
He said, “My faith keeps me from willin’
But you know that I’m able
And if there’s some room, I’d like to sit at your table”
She said “It’s tight, but I think I can fit you in”
Only Prince 😏
I think Chaos & Disorder is a belter and Come has a lot going for it, too. 😉
We once had a thread on editing Emancipation down to a double. We all chose different tracks. Suggests he was into something.
Morrissey. Mainly for the obvious, but also because since Quarry and maybe Ringleaders. his output has wrought ever-diminishing returns. His most impressive work of recent years by far is the California Son covers album, which I enjoy hugely.
Completely agree. Quarry is a pretty strong album but too much after that is just a bit tired and going through the motions. I’ll have to give California Son a listen, your praise is one of a few positive comments I’ve read about it.
I loved Rush in the early 80s and went to see them live twice, one of the few rocks bands I never ditched as post-punk and its sequels dominated my tastes. I came in on Permanent Waves and worked quickly back to 2112. Moving Pictures and Signals I loved, but there seemed to be a big falling away with Grace Under Pressure (bought, did not really love) and Power Windows. After that it was all over and though on every one of the seven subsequent albums there’s a track that flickers, the fire for me went out after Signals.
@moseleymoles
That’s pretty much it for me and Rush too though I went back a little further to Hemispheres . Last album I bought was Hold your fire which had one good single really. Never really bothered with them after that but still play “the good stuff.”
The Waterboys – Rock in a Weary Land – too downbeat for me with tracks like Is She Conscious?
Momus – Hippopotamomus – the tilt into little but perversion left me behind.
Jonathan Richman – Surrender to Jonathan was the last one that seemed like an actual substantial album.
Aztec Camera lost me at Stray but I was won back by the Surf solo album.
Shriekback – Go Bang – too overtly trying to be commercial.
Edwyn Collins – Dr. Syntax – more filler than quality tracks.
ELO – Discovery. I’m really delving into the past here.
ABBA – Super Trouper
New Order – Nothing after Technique
I’m sure I’ll think of more…
Super Trouper is actually ABBA’s best album, despite what the cool kids might tell you.
Cuh, as any fule kno, it’s Arrival.
You’re one of the aforementioned cool kids.
I am? I thought it was The Visitors we were supposed to rate these days? It’s all so confusing trying to keep up!
A case of “same band, two acts”, innit.
Long Live Rock n Roll!
It is. But the default ‘best album’ has always been Arrival – which is great but not as great as ST. I think the eponymous album is as good as Arrival, on reflection.
You might well be right. I will have to go and check….
Edith. Cracking singles! Plus I do, I do, I do, I do, I do.
Erm. Plus Tropical Loveland.
Well, there is that. But I’ll see your Tropical Loveland and raise a Dum Dum Diddle. Even Bjorn is embarrassed about that one, with good reason.
Oh.
I honestly like it!
Could I throw an “Abba: the Album” curveball? Bangers, from start to finish.
Personallly, I’m not too keen on the mini-musical tracks.
Love Super Trouper
I bought Aztec Cameras Frestonia from a Chazzer for a pound and it’s not at all bad
Probably no one hears it by this time though
On The Avenue from this album is one of my all time favourite songs.
I love Hippotamomus by Momus. (1991). I carried on with eight more of Currie’s albums after that until the end of the nineties but I bailed halfway through the Folktronic album in 2001. That’s when he went really anti-pop.
Long ago, Pink Floyd.
I bought everything, saw them live a few times. Then found “Animals” just wasn’t very appealing and “The Wall” was rather a bore. I stopped caring.
Nanci Griffith. Bought all of her albums up to and including Grande Hotel. Loved all of the albums and the covers album Other voices Other songs is the best covers album ever.
Definitive version of The speed of the sound of loneliness. Then I got a bit bored. Then she died and I felt very sad and played her albums again and realised it was me not her.
Dave Alvin wrote a beautiful tribute to her in his most recent book.
A beautiful soul and It’s a hard road wherever you go.
Not quite clear where you are now @SteveT – I did rather fall away with her after The Dust Bowl Symphony. I’m on a relisten from the start and after a couple of juvenile efforts, the run from Once In A Very Blue Moon to Flyer is damn near faultless. I have mp3s of the last few albums and am curious when I get there whether am motivated to buy them on CD. She’s very patchily served on Spotify, probably estate issues sadly. An artist I saw at Symphony Hall around 2005 and really glad I did so.
I think I got Flyer but can’t find it, definitely Dust Bowl Symphony which I really like. I saw her at Symphony Hall but more like about 1995 as It was first concert I went to with my wife when we first met – yep 1995.
Early 90s, possibly late 80s, she regularly played the (old) Irish Centre in Brum, a number of times. Now that was a venue, eh, @stevet, I think we both saw Gillian Welch there, before we knew each other. Paul Brady played a blinder there too, unsurprisingly.
REM. I loved (and still do) the first two albums unreservedly and even now will get the same thrilling wonder I got in 83 and 84 when I got them. The 3rd (Fables) is a bit more patchy but still had some great songs on and the next three Lifes Rich Pageant, Document and Green were all superb again. Hated the first track on Out Of Time, (Radio Song) although I loved the rest and Automatic For The People is pretty good too. After that? Diminishing returns, and I got off the boat completely at Around The Sun, having cut them a fair bit of slack over the couple of preceding albums. The argument that they were never the same after Bill Berry left is a convincing one.
I find that I agree with this, in every particular…
Automatic is “pretty good”? It is their absolute peak
I’ll edit that to “very good” @dai because for me the first two just can’t be beaten.
Murmur is up there
New Adventures is my favourite REM album, after that nothing really worth listening to in my opinion.
I bought Up (average with a few highlights) and Accelerate (dull as dishwater) and then I’m out
Teenage Fanclub for me. Seen them umpteen times and love their work up to Man Made. Something seemed to happen to them after that. They got boring. The life left them both live and on record. I think they really suffered when Paul Quinn left after Howdy and this became compounded with every release. I do like Man Made but I don’t return to anything after that.
Saw them live just after Gerry left. I won’t bother again but still have awesome memories of a terrific live band.
Oddly, and I think in a minority, I like their new stuff better. I have the 4,766 Seconds compo, which is great but the mood of Shadows and Here float more my boat. And I love the post Love new line-up’s Endless Arcade, the keyboard sparkles of Euros Child’s a delight.
Loved the Fannnies’ 4,766 `Seconds comp.
The several full albums I bought on the back of it never really did that much for me.
Is Shadows the one with Baby Lee on it? Wonderful track, my favourite single of theirs. I thought the rest of the album was merely OK though. Must listen to the new one.
Endless Arcade has a couple of tracks fit to sit on a TF greatest hits, all you can ask for at this stage. Still on board.
Yup, Baby Lee is on Shadows. My favourite song, too.
Another thumbs up for Endless Arcade – the album version of Home is a thing of joy and wonder…although, annoyingly, their official video shows the “edited for 45” version…
Thats one of the two fit to sit on the greatest hits.
I’ve just realised that – on account of him knocking out a record every year, but withdrawing his music from Spotify – me and Neil Young seem to have parted ways. He brought out an album with Crazy Horse last year, and I didn’t even notice. I can’t say I’m too upset about this turn of events. I’d probably still see him live, but his best work is all at least 25 years behind him.
Le Noise is good, as is Psychedelic Pill. Confess I also have not bothered with last 2 or 3 but am still picking up most of his many vintage unreleased albums
I succumbed to Le Noise. I wish I had stuck with Le Silence.
Barn is one of Neil’s best albums of the last 20 years.
Vinyl version currently selling for £13 on Amazon UK
Fact! It’s all right. I enjoyed the youtube filmed performance sans audience that he let us see for free a while back but not enough to listen more after. I like the track Chevrolet off World Record, his most recent record. Having Nils Lofgren along seems to help. I didn’t like the lack of a band on Le Noise. It was a bit samey and wearing. None of these later things reach the heights of the 70s peaks but there are moments.
I’m in agreement re: Chevrolet, DF, 15 minutes or so very well spent. I hesitated to buy Toast last year but when I did, I found it to be really good…
I’m with MH – not prepared to buy up all the dross on the off chance that I might find something worth listening to. And the occasional good album doesn’t touch the best of his 1970s output. On that basis, I’m just avoiding the inevitable disappointment.
Arctic Monkeys. Not a fan of the lounge incarnation of the last two albums. I feel they definitely hit their stylistic and creative peak with Suck It And See and AM.
I wasunsure about Arctic Monkeys about three quarters through Favourite Worst Nightmare.
AM suggested I was wrong, but only disappointment followed
God, yes. Those last two albums are almost like the work of a different band – and not one I want to listen to. I can’t believe they’re taking that material on a stadium tour. I’m morbidly curious to see how that works out.
couldn’t find the Jam post so here’s my 10p . My first love, and always the deepest. Gutted when they split up. I dutifully bought the first two Style Council albums but never really felt the same (who did?), and had bailed by the terrible third, fourth and abortive fifth…
Into Tomorrow – what a fabulous and raucous return to form. Fully signed-up for the first three solo albums, but then again there’s a tailing off. I haven’t really felt motivated since Wake Up The Nation – saw him live for the last time on that tour. The last three albums have passed me by more or less completely. Not sure where he goes from here, other than more albums in the same vein for his loyal audience.
I answered Rigid’s Jam post up there but as I’m here… I came back to his solo stuff after On Sunset. Its fantastic. Fat Pop was really good too. I think he’s in another great phase of his remarkable career
Jane’s Addiction.
Ritual di lo Habitual is a outstanding album. Thrilling, expansive music.
With Lollapalooza, they seemed to be on the cusp of something huge…Nirvana huge.
And then they broke up and everything they have recorded since then has been average at best. And it’s not me, it’s definitely them. Seems like Eric Avery, the bassist, really is the talent. Flea was even in the band for a while, meaning we had not one RHCP…but two.
But Avery has been back in the band since last year with one new song debuted recently and things are looking up.
Having parted ways, there may be a way back.
Agree, but that said, Strays has the best beginning to any JA album.
Air. While there is some decent enough stuff after Moon Safari nothing comes remotely close to it. I need to give 10,000 hz Legend another go or three though because it might actually be magnificent.
It must be very challenging as an artist to have to follow a masterpiece.
10,000 hz Legend is pretty enjoyable but it’s definitely not up there with Moon Safari. Great headphones album though. And How Does It Make You Feel I find packs quite an emotional punch even though it sounds like it’s sung by a robot…
Talkie Walkie I thought is excellent
I had Love 2 which bored me to tears so then baled out..
How Does it Make You Feel is song with a punchline at the end. You don’t get many of those.
Elephant in the room….. The Fall. Where do you even begin? Do any of these ideas even apply? Will give this some thought.
Lost me after Bingo Master’s Breakout
Aaah The Fall. I think lots of people will have parted company with them on a regular basis but ended up returning to the fold thinking “I wonder what the old bugger’s been up to,” to discover a decent serviceable album that doesn’t quite live up to their (for me anyway) 1983-1991 most consistent period. They couldn’t sustain a decent run of albums after this. One decent one would be followed by a poorly recorded or rushed effort.
The Fall really need a Best Of for lightweights like me. There are countless singles collections, but that’s not quite the same thing.
Maybe not: but the two 458489 collections hit the spot, especially the B-sides set…
I have a full Peel sessions set that does the trick probably
A best of tracklisting is, as you say, probably to be found within that set. But it is too much.
Parted after the Infotainment Scam
Briefly tempted back by Country on the Click but nothing else worthwhile
458489 is far far too early in their career! Misses out their poppier output…
…and your point is…?
No but seriously folks…the B-side collection is a thing of wonder and I’m not sure that I miss their “poppier” output. However, maybe Mr Fenton would…
I have the As and Bs, and the Peel sessions box, and 50,000 Fall Fans Can’t Be Wrong. But I want a proper career-spanning best of. Probably tricky, what with so many labels. Perhaps Cherry Red will oblige, once they finish re-releasing them all.
Unfortunately, I fear The Fall back catalogue is going the way of The Kinks in being regularly but pointlessly reissued with the same selection of outtakes/bonus tracks. Repetition, Repetition, Repetition…
Just buy Shiftwork. Or The Infotainment Scan. Or Middle Class Revolt.
The Avalanches! Australian sample/beat/groove merchants.
I’ve RAVED about them on these pages before. I was a super fan back in 2000-2001 when they first started getting big in the UK, and when their (still classic) debut album Since I Left You was all the rage. I swear when I saw them live in Glasgow in 2001 it was a truly religious experience. The subsequent 15-year disappearance (theirs, not mine) just added fuel to the legend, so when they came back in 2016 with Wildflower it blew me away and I still love that album.
My doubts began to creep in when I saw a lukewarm live performance in Manchester in 2017, but their DJ mixes (including a wonderful two hour mix on BBC Radio One) proved they were still cutting edge in their taste for obscure music and clever mashups.
2020 was promising, when they announced their third album We Will Always Love You. But to be honest I struggled to connect with it, and to me they appeared to have spread a gloss over their music which killed their originality. We got smooth, poignant, lush sounding “songs” (ugh) instead of the cheeky, ramshackle approach of yore. Tighter sampling laws probably didn’t help.
I suppose every band has to mature, and in a way I’m pleased they have succeeded in their attempts to become a bit more mainstream and a bit less amateurish. But the “falling apart at the seams” kitchen sink approach was what I loved about them, and now that’s gone I’ve parted ways with them.
I didn’t go to see them when they came to Glasgow last year (or was it the year before?) and I’m so out of touch with them I couldn’t even tell you if they have another album out or not. My split with them has been quite brutal! I still cherish Since I Left You and Wildflower, as well as their copious mix sessions and bootlegs from the old days, but I definitely wouldn’t count myself as a fan anymore.
This has been quite cathartic to write! 🙂
Only just seen this, @arthur-cowslip – I was at that Avalaches gig in Glasgow too! It was indeed brilliant. I didn’t even realise they’d played here again, I probably would’ve gone along out of curiosity…
I probably should have went, for old times sake!
I’ve said this before, but I don’t seem to have a “fan” gene. The closest I’ve been to a completist was with R.E.M., Radiohead and Pixies in around 1997-8, but that was 25 years ago and I was little more than a child. I’ve never since then bought a record purely on the strength of who the artist is – except maybe The Hold Steady, where I needn’t have bothered with Teeth Dreams – but it never feels like much of a wrench to leave off a band.
I loved, and love, about three records by The National have gone from producing really intricate, inventive music to… not; I stopped being bothered about halfway through Trouble Will Find Me and haven’t looked back. It’s records I like, rather than bands, I think.
Sailing against the prevailing wind, I rather like the new National songs and I’m looking forward to the rest of them when the album ‘drops’. DonI love them like I love the early stuff? Not really, because, to me, the early National stuff was genuinely different and made an immediate impression on me. But it’s good stuff, sounds like The National and yet feels sufficiently different from the other stuff.
And it’s got added Taylor and Phoebe!