CD Odyssey Disc 73: The Rolling Stones

For the next disc, I have decided to put a new CD back in the mix. Santa was good to me and put some music in my stocking.

I had asked Santa for some Dick Dale surfer guitar, and was surprised to find the Rolling Stones' "Sticky Fingers". That's OK though - Dick Dale was something I might not have bought, but wanted to hear. The Stones fit that bill perfectly as well. Santa knows me better than I know myself!

So, without further ado...

Disc 73 is...Sticky Fingers

Artist: The Rolling Stones

Year of Release: 1971

How I Came To Know It: I'v known the Stones all my life, and I used to own the ubiquitous "Hot Rocks" on tape. This album was bought for me by Sheila/Santa. Apart from the two "Hot Rocks" tracks (Brown Sugar and Wild Horses), I didn't know it.

How It Stacks Up: The Rolling Stones have 25 studio albums. I have only 1 (this one). Of the one I have, this one is the best. I have a feeling it will stack up well if I had more, but who knows?

Rating: 4 stars.

I wasn't sure how I was going to like this album on Christmas morning, but immediately decided to dive in and see how it went. Since then, I've listened to it five times in five days (twice yesterday). I have not been disappointed.

Also, since my last couple reviews have taken the piss out of Led Zeppelin and the Beatles, I think a third band from that era is in order.

I know next to nothing about the Stones, apart from the fact that Keith Richards is a member of the living dead - likely a lich, but as he ages I think maybe a mummy. My buddy Casey is a huge fan, and has kept the pilot-light of my interest burning for years. Thanks, Casey!

Back to the album - which is a great one. This record starts with the very recognizable "Brown Sugar". This is a good song, but hardly my favourite on the album.

I'll skip all the obvious stuff here - except to quickly point out that the Stones are a very tight band, that can obviously play their asses off. In particular, I don't think I've ever appreciated Keith Richards' guitar until now. It is like I've listened to the Stones a thousand times but only truly heard them now. The headphones likely helped on that account (I listened while painting the evil cleric - coming soon!).

A couple things on this album stick out (apart from the trouser snake on the album cover).

Firstly, I really enjoy the blues-rock sound which is the natural pocket of the rolling stones. In particular "Bitch" is a sweet track for this, and I think my favourite on the album.

Secondly, I like the range of the music - something I didn't fully expect, having been fed only anthologies and hits most of my life. In particular, the use of strings (very noticeable on "Moonlight Mile") and the ability of Richards to switch from blues-rock to country-rock on tracks like "Dead Flowers" and the aforementioned "Moonlight Mile". I should've expected this, as one of my favourite Stones' tracks is "Far Away Eyes", but I didn't realize the sound was so prevalent.

I also really dug the otherworldly sound on "Sister Morphine", which reminded me a bit of Steve Earle's "CCKMP" which I reviewed as part of his "I Feel Alright" album back on July 30th. Like that song, "Sister Morphine" captures the numbness of the drug addict in the throws of addiction.

Lastly, what really hit me was that the Stones play with emotion. They understand that rock and roll should not just be heard, it should be felt. Frankly, hearing it is what makes me realize what I've been missing a little bit in the Beatles review for Rubber Soul recently posted.

In short, I was pleasantly surprised. This is my first Stones album, but it won't be my last.

Best tracks: Wild Horses, Can't You Hear Me Knocking, Bitch, Sister Morphine, Moonlight Mile.

CD Odyssey Disc 72: Led Zeppelin

I am off this week, so no car listening. Instead, I reviewed this album on my cordless headphones while painting a figurine (Evil Cleric pictures to be posted when I finish him).

It was weird not listening in the car, but painting is an activity that allows me to concentrate, so I think it is a good approach. Besides - I make the rules around here!

Disc 72 is...Led Zeppelin II

Artist: Led Zeppelin

Year of Release: 1969

How I Came To Know It: I got into how I came to know Zeppelin when I reviewed Vol I back at Disc 27, so I won't repeat a bunch of that. Basically, at the constant positive reinforcement from the many Zeppelin fans I know, this is the third album I've bought, and the latest.

How It Stacks Up: I would put this album second of the three (I, II, and IV) that I have.

Rating: 4 stars.

Because Zeppelin II is a more recent purchase of mine, it hasn't got a lot of heavy listening, so I went through this one two times back to back to really get the groove in my mind. I was once again left with a deep appreciation for Zeppelin's musicianship, but also once again lacking an emotional connection to many of the songs.

I do like that they keep their albums to a reasonable number of songs - in this case 9. I think part of that is to the power of vinyl. Modern bands take note - if you have 15 songs, save a few! As an example, Zeppelin II is their second album within a single year (1969). Maybe they saved a few - you can too!

I also like that unlike Zeppelin I, the band for the most part makes the songs only as long as they ought to be, and don't just play for the sake of playing. It makes for a tighter, more professional sounding record.

Part of what makes this band so great is they are so tight, they could play almost anything and make it sound good. Part of their problem is that at times I think they do just that. The noodling is less of a problem on II, but they still manage to go overboard in places where it doesn't make the song any better.

Case in point - "Whole Lotta Love". This is a classic riff, that when you hear it you know it right away. Moreover, it MOVES you. The song has a strong groove, and is for the most part finely constructed and superbly played. In short, a classic.

Yet, right in the middle, the band decides to put a 2 minute noodle-fest with all kinds of weird stereo effects (very noticeable on the headphones). I'm not 100% sure what is up here, but having seen Nick's DVD of them playing, I know part of it is Jimmy Page doing weird stuff on the guitar, and getting off on the whacky sounds it can make.

Note to Jimmy Page: That stuff is really cool in the studio, but it takes a 5 star song and turns it into a 4 star song.

I know what you're thinking - did I just call out Jimmy Page on "Whole Lotta Love"? And the important thing to remember is that yes, I did - but not to his face. To his face I would say, "Thank you for all the wonderful music, Mr. Page. I wish I could play the guitar."

But I digress.

Moving on, my favourite tracks on this album are the ones where Zeppelin lays down an incredible riff, and just lets it grow into an incredible song. "Heartbreaker" and "Ramble On" are particular favourites.

I do also really like "Moby Dick". This song is the exception that proves the rule; John Bonham's wild solo actually makes this track better. More Bonham, less Page playing his guitar with a violin bow!

"Ramble On" will be familiar to Tolkien afficianados as the song with the weird references to "Lord of the Rings" that don't make any sense. At one point Robert Plant sings about how he met a fair maid in darkest Mordor, but she was stolen away by "Gollum and the Evil One." Hey, Robert! Gollum didn't work with Sauron - he was captured by him, and I'm pretty sure neither of them stole your girlfriend.

I know what you're thinking - did I just call out Robert Plant? Yes, but again the important thing to remember is that it is OK for me to call people out on literary references; I am a trained professional. Also, it wasn't to his face. To his face, I'd say, "Mr. Plant - you sing really great, please apologize again to Jimmy Page about the "Whole Lotta Love" thing. Also, do you find those jeans you wear uncomfortable, or too comfortable - on the video footage it is hard to tell which it is, if you take my meaning."

Anyway - Zeppelin II - a classic album, where they mostly keep their noodling in their pants.

Best tracks: Heartbreaker, Ramble On, Moby Dick and Whole Lotta Love (minus the weird middle part).

CD Odyssey Disc 71: The Beatles

This review should have a full disclosure - I don't worship the Beatles. Never have, never will.

Disc 71 is...Rubber Soul
Artist: The Beatles

Year of Release: 1965

How I Came To Know It: I have heard a lot of Beatles songs since a young age. I think this album once featured at a high school party I went to (at the time I was more interested in the weird Syd Barrett solo stuff I hear that night). In any case, it has been Sheila who brought me the Beatles in my adult life.

How It Stacks Up: We have 7 Beatles albums, and a few I really dig. This one is just OK for me. I'd put Rubber Soul about 5th.

Rating: 3 stars.

OK, I'm going to just get this out there right up front. I don't worship the Beatles. I don't think they are the most influential rock band ever. Yeah, I know - those who know more than me feel otherwise, but this is my blog. I'm not a music historian; I simply like what I like.

The Beatles aren't the be-all/end-all of music history, but they certainly fill an important part of music history. In particular, the arrangements for this album are well in advance of most of what was going on in 1965.

So I respect what the Beatles did for music. But there is a big difference between recognizing their importance in music history and really liking the music.

I do enjoy this album starts with a love song ("Drive My Car") and ends with what could only be considered a stalking song ("Run For Your Life"). I think arranging the order of tracks is an underappreciated part of record making.

"In My Life" is one of the better love songs of the modern era, although this is tempered by an unfortunate accident in the nineties where Sheila inadvertently picked this song twice for one mixed tape. A good song, but for a while there it was literally too much in my life. That I still like it is testament to its quality.

Notwithstanding unexpected repitition, the music on this album is consistently good. My friend Casey is always singing this album's praises, and certainly there is much to praise.

At the same time, while novel, the arrangements haven't all aged well to my ear. I find myself comparing this to early "Who" stuff, and feeling that The Who sound a little fresher over forty years later.

There is an emotional detachment to the Beatles as well - one of my beefs with the modern self-labeled "indie" movement. It might be the constant harmonies that takes away from what are often insightful lyrics and interesting topics ("Nowhere Man" comes to mind as a song that is very thoughtful but loses something in the harmonies).

Am I nitpicking? Sure - but the Beatles have enough praise to last a lifetime. This is just one man's emotional response to their music. I think it is technically brilliant, but it is lacking a bit of soul - or maybe it is just that the soul is made of rubber? That would make sense...

Best tracks: Norwegian Wood, Nowhere Man, In My Life, Run For Your Life

CD Odyssey Disc 70: ELO

From seventies folk-rock to eighties disco-pop. The CD Odyssey rolls on...

Disc 70 is...Time

Artist: E.L.O. (Electric Light Orchestra)

Year of Release: 1981

How I Came To Know It: I had heard ELO as a kid on the radio, but it was Sheila that made me appreciate them. "Time" is one of her favourite albums. More often than not, whether we are playing a game, or picking music for a trip, or deciding what to paint the house to, when I ask for her to pick an album, "Time" is often the response.

How It Stacks Up: We have three ELO albums. "Time" is definitely the best of the bunch.

Rating: 4 stars.

In the "How I Came To Know It" I note this is one of Sheila's favourite albums. What I didn't add is how much is has become one of my favourites as well.

The first thing I noticed about this album was the overall strength of the songs. This is quality pop music, coming out at a time (1981) where there was an overabundance of schlock (think Air Supply). There are no wasted tracks, although I particularly like the dressed down "Rain Is Falling." Dressed down that is, in comparison to the normal song in the synth/disco/pop world of ELO.

The songs that have a lot of production are just as good, though - and that is the second thing that struck me about this album; the incredible production. Whether it is his own projects with ELO or with others (Tom Petty's "Full Moon Fever" comes to mind), Jeff Lynne does consistently excellent production work.

"Time" is a concept album about time-travel and futuristic themes. The record is filled with heavy synthesizer, and widely varying voice production ranging from do-wop to almost techno in sound (often both techniques within the same song). Lynne blends all of this seamlessly, in a way that makes you feel the future, but at the same time never lose the human undertones that allows you to emotionally connect with the work.

There are also some great anachronistic "future" lyrics that sound funny now, like this from "Yours Truly 2095":

"I drive the very latest hover car.
I don't know where you are
- but I miss you so much 'til then
I met someone who looks a lot like you
She does the things you do,
but she is an IBM."

But then from the same song, lines with an eerie modern resonance:

"She is the latest in technology
Almost mythology
But she has a heart of stone
She has an IQ of 1001
She has a jump suit on
And she's also a telephone."

Did Jeff Lynne stare Nostradamus-like into the future and foresee the rise of the i-phone?

While a few lyrics can be goofy, "Time" really works as a cohesive piece of art. The songs are strong without any real duds, and they manage to be complementary to one another, yet distinctive in their own right (this balance is a key part of the chemistry of a good concept album).

The version we have has three bonus tracks, two of which I could live without. However, the third "Julie Don't Live Here Anymore" is well worth having, so I can suffer the other two for it.

In closing, this is unique blend of pop music, sci fi imaginings, a cohesive album concept and not a small amount of disco. You'll likely never see that again. Er...on second thought, The Alan Parsons Project's "I Robot", also gets a tick in all those boxes, but that is for another review.

For now - take my advice, and take Sheila's advice. This album is worth having. You won't be disappointed.

Best tracks: Twilight, Rain is Falling, The Lights Go Down, Here is the News, 21st Century Man, Julie Don't Live Here.

CD Odyssey Disc 69: Bob Dylan

I am sad to report that the next disc rolled in the CD Odyssey does not at any point have the lyric "like a rainbow in the dark."

Disc 69 is...Planet Waves
Artist: Bob Dylan

Year of Release: 1974

How I Came To Know It: Like most people, I've heard Bob Dylan since I was a kid. I bought my first Dylan record (Times They Are A' Changin') in about 1988 so I am a late bloomer, but since then I've really gotten into him. Planet Waves is one of the most recent ones I purchased, maybe a year ago or so.

How It Stacks Up: I have seventeen studio albums of Dylan. They are all good (we are talking about Bob Dylan here) but Planet Waves is not one of my favourites. I would say bottom three of those seventeen - maybe 15th?

Rating: 3 stars. When I first listened to this album I think I might've gone 2 stars/thumbs up, but owing to a variety of factors I couldn't blog yesterday and did a lot of driving. I ended up hearing it about 4 times I guess it grew on me. Either that or I have Stockholm Syndrome.

I love Bob Dylan. He is one of the greatest songwriters of all time and I would proudly stand on Townes Van Zandt's coffee table in my cowboy boots and say so. If course, I'd only do this because Van Zandt is dead. Otherwise, I'd be afraid of him - and rightly so. Also, with him Townes long gone, who knows what's happened to his coffee table. With my luck, Steve Earle inherited it and would kick my ass if he caught me standing on it. Then again, Steve's put on some weight - I think I could probably outrun him. But I digress...

Anyway, I love Bob Dylan - and not in the kiss-ass blind way that Rolling Stone does, but in an appreciative way irrespective of his monolithic standing in 20th century music history.

Having said that, this album is just a little uneven, and not up to his usual standards. A lot of his seventies stuff have that transitional sound from his early folk feel to his later rock feel. Often this works, but on Planet Waves it just comes off a little disjointed.

I particularly find the slow version of "Forever Young" followed by the peppier version of exactly the same song a little self indulgent. It isn't even the best song on the album - not even close to the best song on the album.

For those, I like Dylan's love songs on this album, in particular "Something There is About You", "Never Say Goodbye" and "Wedding Song". Without knowing Bob's history in 1974, he seems to be in a pretty good place on these songs - if not he fakes it well.

I also like the high guitar sound complimenting a rolling piano, really noticeable in "Something There is About You" and "Never Say Goodbye". That could be the Robbie Robertson influence, as I notice similar arrangements on the one Robbie Robertson album we have.

As an aside, the album art for this album is particularly atrocious. Looks like a charcoal drawing by someone using their wrong hand.

On the plus side, when Dylan's albums were remastered, he focused on making the sound good, and didn't add a bunch of "bonus" tracks that ruin the original flow like so many artists do. Planet Waves is as it was on record - and that is how it should be.

Best tracks: Going Going Gone, Something There is About You, Never Say Goodbye, Wedding Song

CD Odyssey Disc 68: Dio

The next disc shows the power of random rolling yet again. You'll recall the last review was for Figgy Duff - this one is Dio. How could there possibly be a connection? Read on...

Disc 68 is...Holy Diver

Artist: Dio

Year of Release: 1983

How I Came To Know It: I have known Dio since this album came out and my brother bought it. Back when I was 13, my brother had a good job as a fisherman and he'd get off the boat and buy every metal album with a good cover. You have to admit, this is a pretty cool cover. Is that preacher escaping Satan's chain as it breaks, or has Satan released him to the depths? We don't know. What we do know is that the Devil is doing a wicked "devil horns" with his off hand.

How It Stacks Up: I have two Dio albums - this one and "Last In Line". This is by far the better one. Still meaning to get "Sacred Heart" - then I'm done with Dio (I have no interest in "Locking Up the Wolves".

Rating: 4 stars.

Most people got to know Dio because he joined Black Sabbath. I'm one of those weird guys who got to know Black Sabbath because of Dio. My first exposure to Sabbath were Dio albums, "the Mob Rules" and "Heaven and Hell"

O solo Dio (couldn't resist) is a lot like those Sabbath albums, but mostly not as good. "Holy Diver" is the exception.

This album is early 80s metal at its finest. Driving riffs and soaring guitars - I particularly like "Straight Through The Heart" for its energetic riff. Accompanying all this bombast is one of the greatest rock voices in the world. Dio is up there with Bruce Dickinson and Rob Halford.

In addition to great music meant to be played loud (apologies to those who shared the commute with me today), the lyrics on "Holy Diver" are vintage Dio. Here's a little sampling:

From "Holy Diver"

"Between the velvet lies
there's a truth that's hard as steel
The vision never dies
life's a never ending wheel"

It...almost...means...something...profound:

Here's a little more:

From "Don't Talk to Strangers"

"Don't write in starlight 'cause the words may come out real"

The kind of "magicky" line that really appeals to the 13 year old boy. Guilty as charged; I remain a 13 year old boy.

But here's the best - one of the most ridiculous rock lyrics since Uriah Heap sang of Rainbow Demons:

From "Rainbow in the Dark"

"When there's lightning you know it always bring me down
'cause it's free and I see that it's me who's lost and never found
I cry out for magic I feel it dancing in the light
It was cruel lost my hold to the shadows of the night
No sign of the morning coming you've been left on your own
Like a rainbow in the dark a rainbow in the dark"

Surely only a metal God like Dio would stoop to such hyperbole. Then again...shall we revisit the album I just reviewed two days ago.

From Figgy Duff's song "Heart of a Gypsy"

"She can make you listen deep inside
For her secret still untold
She has it locked inside her heart
Like a rainbow in the dark."

And the third song on "Holy Diver" is..."Gypsy".

I just love the coincidences that result from the random CD Odyssey. Either that or Figgy Duff and Dio should go for beers. And invite me.

Best tracks: Stand Up and Shout, Holy Diver, Straight Through The Heart, Rainbow in the Dark, Shame on the Night.

CD Odyssey Disc 67: Figgy Duff

The Odyssey now returns to the heart of Newfoundland folk music. If you're following along you know I had a bit of a thing for this stuff in the early nineties.

Disc 67 is...Weather Out The Storm

Artist: Figgy Duff

Year of Release: 1990

How I Came To Know It: I heard the song "Woman of Labrador" on Country Music Television (CMT) in around 1993. I went to go buy the album, but the only Figgy Duff album they had was ""Downstream". So I bought "Downstream". It was OK, but I really wanted that song "Woman of Labrador" so I kept going back until it this album was finally in stock.

How It Stacks Up: Figgy Duff has four studio albums over a 13 year span - I've got two. If you're reading comprehension hasn't failed you, you know which two. Anyway, "Weather Out the Storm" is definitely my favourite.

Rating: 2 stars with a thumbs up

Figgy Duff is a folk band from Newfoundland. I seem to recall my friend Tony telling me that a "figgy duff" is a kind of pudding. I think that's what he said, and if I've got it wrong, well - then there oughta be a pudding called that. The world needs more pudding.

Whatever Figgy Duff means, they only have four albums. They weren't that prolific to begin with, and were prematurely disbanded by the tragic death of one of their main creative forces, Noel Dinn - who succumbed to cancer shortly after 1993's "Downstream".

I don't know if it is just that I have their two later albums or not, but Figgy Duff gets a little too into a new age, synth-pop kind of sound. This is particularly noticeable on tracks like "Weather Out the Storm" and "Heart of a Gypsy" which lead off this album. Both songs have strong fundamentals and would really benefit from being stripped down to more traditional folk arrangements. Still, you can't blame a band for experimenting - Capercaillie does it very well. It's just that not every band is as good as Capercaillie.

The tracks on this album that are stripped down are really quite good. In particular, "Woman of Labrador" is a solid 4 star song about the hard life of pioneering women in Labrador, who tended the house for weeks while their husbands worked the trapping line. The song ends with a bitter lament of a simple way of life lost:

"Daughter of Labrador
Those days are here no more
Wonder if your baby will ever understand
The hardships that you endured
When everyone you knew was poor
Sharing everything you had
And living off the land."

I'm also a big fan of "Yankee Skipper" which is a funny little sea shanty about a local woman who decides to accept the advances of a visiting Yankee skipper by the name of "Peter Nelson". She goes on his boat and as the song says "Whatever the captain asked of her/the maid she never grumbled."

In between each semi-bawdy verse we have some excellent fiddle reels. I love that sound of an east coast fiddle played well...

Anyway, spoiler alert! The story ends thusly:

"For sleeping with the yankee chap
Her own true love she lost him
But she got herself a fine pair of boots
Cost five dollars in Boston."

Not knowing what her boyfriend was like, or what boots were worth when it was written, it's hard to say if this was a fair exchange or otherwise.

The album ends with a murderous ballad about a man who chooses to go privateering to support his brothers. The song is called "Henry Martin". I'm not sure if it is my imagination, but it seems a lot of the time when a song is titled a man's full name, someone gets killed. I'll have to look for that ahead on the waves of the CD Odyssey.

Of note - all my four favourites on this album are traditional folk songs, arranged by Figgy Duff, which is fine for what it is, but sadly doesn't speak strongly to Figgy Duff''s own stuff holding its own. Thus I give 2 stars, where I might've been generous on another day and given 3.

To sum up: Do you really like Newfoundland folk music with a hint of new age production? This may be the album for you - both of you! The three of us can listen to it occasionally.

Best tracks: Woman of Labrador, Yankee Skipper, Rumbolt

CD Odyssey Disc 66: Aimee Mann

In less than a month, I've rolled my two favourite Aimee Mann albums. Actually, as more rolls occur I find I am rolling a disc already listened to.

In these cases I roll to see if I go to the right or left of that disc until I come to a new one.

This time I rolled "Lost in Space" again - and heading East again, the next album was this one.

Disc 66 is...The Forgotten Arm

Artist: Aimee Mann

Year of Release: 2005

How I Came To Know It: We had purchased "Lost in Space" (which I reviewed in November at Disc 54) back in 2004 and when this album came out, we were fans so we bought it right away. It did not disappoint.

How It Stacks Up: I have six Aimee Mann albums, not counting the Magnolia Soundtrack, which is 80% her music as well. I started out listening to this album expecting it to be tied for first with "Lost in Space" but after going through it, I'm going to give it first place all on its own.

Rating: 5 stars.

This album is quite simply Aimee Mann at her best.

The album borrows its title from an old boxing term. In boxing, "The forgotten arm" is refers in a fight when one fighter uses the same arm to launch the majority of his attacks (like a constant left jab, for example). Over time, his opponent shifts his defence a little to favour that arm, creating an opening which can be exploited with an unexpected strike from the other side, via the "forgotten arm." It isn't like the defending fighter deliberately shifts his defence, he just kind of forgets, and lets the attacking fighter lull him into a pattern that is later exploited.

As a fencer, I know this is very much part of any martial art. Setting up your opponent by establishing a pattern or a rhythym , and then breaking that pattern.

On this album, Mann uses this image in a series of intertwining ways to tell the tale of the love between a fighter and his woman. How they met, and how they fall in love and how they fall apart. Alternating songs from the point of view of first the girl and then the fighter she shows us how "The Forgotten Arm" is a powerful metaphor for how a relationship can slowly fail.

On my first few listens, I just picked up the failure of the relationship elements, but at each listen new applications of the image of the forgotten arm reveal themselves.

At its most basic, near the end of the woman sings in "I Can't Help You Anymore":

"I'll get a pen and make a list
and give you my analysis;
but I can't write the story with a happy ending.
Was I the bullet or the gun?
or just a target drawn upon
a wall that you decided wasn't worth defending?
And I should know - but I don't know:
That I can't help you anymore."

In addition, the fighter has has alcohol addiction problems that also creep up on him unawares like a "Forgotten Arm" and that he can be violent - both of which are big reasons for the end. Early on the album, the woman sings in "I Can't Get My Head Around It" as the fighter makes a promise to straighten out.

"I want to believe, if you tell me so,
I want to believe because you ought to know:
That kicking is hard, but the bottom's harder."

Instead, by the time the album nears an end, the fighter realizes he cannot quit - that he has been cruel to the woman he loves without even realizing. In "I Was Thinking I Could Clean Up for Christmas":

"I was thinking I could clean up for Christmas;
and then baby, I'm done.
Because I can't live loaded and I can't live sober,
and I've been this way since the end of October,
and I know enough to know:
That baby when it's over, it's over. And it's over
Because baby, I'm done."

And this time I noticed it also refers to a boxer struggling with memory loss from brain damage - no doubt contributing to his inability to live without self-medicating, as well as his rage. In "Video":

"Tell me why I feel so bad, honey
- fighting left me plenty of money,
but didn't keep the promise of memory lapses
Like a building that's been slated for blasting
I'm the proof that nothing is lasting...
Counting to eleven as it collapses."

The whole album kind of sums up right in the middle with "Little Bombs"

"Life just kind of empties out
First a deluge then a drought,
Less a giant mushroom cloud
Than an unexploded shell."

But at the end, Mann gives us hope. The final track "Beautiful" features a bittersweet reunion of the couple, who hook up again and swear to be best friends, as our fighter hero closes by telling his ex-girl:

"Beautiful - I wish you could see it, too.
I wish you could see it, too.
I wish you could see it, too -
baby, how I see you."

Yes, he is a schmuck, but in this moment, for all the pain between them and behind them, you feel that even though they won't be together, they are both going to be OK, and you're glad of it.

Maybe I love this album because I have a soft spot for concept albums. I'm sure that's part of it, but that's not all it is. I love this album because the music is excellent, Mann's voice is incredible and the lyrics tell a story that is as good as anything you'll read or hear. I love it because even though I've heard it dozens of times, it still hits me in unexpected ways.

Speaking of which, whatever your particular Forgotten Arm is, this album will remind you to keep your guard up, and stay on your feet.

Best tracks: All tracks, preferably listened to sequentially.

CD Odyssey Disc 65: Nick Cave

The next Disc in the Odyssey is the second entry from Nick Cave. The first was reviewed way back at Disc 13, when I rolled The Boatman's Call.

Disc 65 is...No More Shall We Part

Artist: Nick Cave and The Bad Seeds

Year of Release: 2001

How I Came To Know It: After our success with "The Boatman's Call", this was the third album of Nick Cave's that I bought (Tender Prey still to come).

How It Stacks Up: I still have 6 Nick Cave albums, but plans are in the works for more. Sadly, I am in exile until after Christmas (no shopping allowed!). I'd put "No More Shall We Part" in the middle of the pack. Maybe 3rd or 4th depending on my mood.

Rating: 4 stars (just).

By the time this album came along in the collection I was a devoted Nick Cave fan and in full "drive your friends nuts" mode in my excitement.

I am over that phase, but I'm not over Nick Cave nor this album. It is really good.

This particular record has a similar sound to 1997's "The Boatman's Call" with very sparse arrangements, and the centrepiece of Nick Cave's haunting voice and troubling lyrics. Overall, it isn't as strong, but it definitely has the magic.

One criticism of this album is that most songs are predominantly mood pieces, and some are a little overlong - the result is 12 tracks but almost 70 minutes of music. I wouldn't cut any of these songs short, nor do I think there are any real stinkers, but I think I'd've saved some for the next record and maybe had 8 or 9 tracks and a more manageable length.

Standout tracks include "As I sat sadly by her side" which is a deeply philosophical song about the nature of empathy for strangers, and the presence and absence of God in that empathy. It is deep stuff, like a lot of Nick Cave.

Here are some of my favourite lyrics off this record, which are from "Hallelujah" (no relation to the Cohen song of the same name).

On writer's block...

"I'd given my nurse the weekend off
My meals were ill prepared
My typewriter had turned mute as a tomb
And my piano crouched in the corner of my room
With all its teeth bared
All its teeth bared.

And then later after he goes out into the world and gets some experience, he finds himself filled only with sadness:

"The tears are welling in my eyes again
Hallelujah
I need twenty big buckets to catch them in
Hallelujah
And twenty pretty girls to carry them down
Hallelujah
And twenty deep holes to bury them in
Hallelujah"

You see, in a Nick Cave song, even when you get what you want, it is only going to bring another level of angst and further spiritual hand wringing. But it is really good spiritual hand wringing, so we forgive him.

I also like the song "God Is In the House" which is satirical piece about a town so supposedly perfect that they've dyed all the kittens white so they can be seen in the dark.

This album is filled with the tales of a man wrestling with his complex relationships with his art, his woman and his God. If you like that kind of sombre pondering, this is for you. I happen to really dig sombre pondering - we English Lit types are famous for that stuff.

For this I make no apologies, and declare this album excellent. Sombre Ponderers of the world unite!

Best tracks: As I sat sadly by her side, Hallelujah, Fifteen Feet of Pure White Snow, God Is In the House, Oh My Lord, Darker With the Day

CD Odyssey Disc 64: Mark Knopfler and Chet Atkins

Here's my first appearance of Mark Knopfler - an artist who wears many different genres well. This time, it is his country side, on a collaboration album with C&W star Chet Atkins.

Disc 64 is...Neck and Neck

Artist: Mark Knopfler and Chet Atkins

Year of Release: 1990

How I Came To Know It: I know Mark Knopfler from Dire Straits, but I'm also a fan of his solo work. This album is an early example of that work, although I bought it comparatively late. I took a rider on Chet Atkins, because I trust Mark Knopfler's stuff to be good.

How It Stacks Up: I have seven Dire Straits albums, and eight Mark Knopfler albums, of which two are collaborations. Of the two collaborations, I prefer the other one, but this one has its moments.

Rating: 2 stars with a Thumbs Up.

When I was a kid, my Mom had this greatest hits album by Chet Atkins called "Chet Atkins Picks His Best". My brother and I thought it hilarious to refer to this album as "Chet Atkins Picks His Nose", in fact I think my brother went one step further and had Mr. Atkins picking his bum.

This used to infuriate my Mom, who thought quite highly of Chet, a top notch guitar player in his day. The angrier she got, the funnier we thought Chet's inappropriate picking was.

Well, many years have passed, and I've grown up a lot. Well, not really - I still think that was pretty funny.

As for Mark Knopfler, he is my #1 guitar hero (with apologies to Buck Dharma and Jimi Hendrix). Knopfler can play any style and master it. This album has he and fellow maestro Atkins playing country, a little blues and that groovy Hawaian sounding guitar. They handle each amazingly.

That said while the playing is stellar, the songs themselves are just OK. Also, there are plenty of moments of total self-indulgence including an "impromptu" guitar-off between the two on "There'll Be Some Changes Made".

I like this album because it is clear the admiration Knopfler holds for Atkins (and it shows one of the influences that makes Knopfler such a versatile player). For just sitting and listening to, it isn't terribly exciting.

So, unless you are a Mark Knopfler completionist like me, I'd say skip this one. You might also pick it if you are a Chet Atkins fan, if you aren't already picking something else. Tee hee hee.

Best tracks: The Next Time I'm In Town

CD Odyssey Disc 63: Blue Rodeo

The Odyssey continues with more Canadian folk/rock, but this time it is an artist discovered for me rather than by me.

Disc 63 is...Diamond Mine

Artist: Blue Rodeo

Year of Release: 1988

How I Came To Know It: Blue Rodeo is one of a few bands that Sheila introduced me to. Sheila is a big Blue Rodeo fan, and it hasn't taken much to make me a big fan also. This album is one of their classics.

How It Stacks Up: We have 11 Blue Rodeo albums (and a twelfth on the way at some point). All have their moments, but "Diamond Mine" is one of the best. I'd put this one 2nd best overall.

Rating: 4 stars.

Blue Rodeo is Jim Cuddy and Greg Keelor at their best. These guys are so different, yet they are perfect when combined. I think that each keeps the other from straying too far.

Cuddy is a folksy crooner who sings about personal relationships. Keelor is a bluesy rocker who sings about saving the world. This album captures them both at their best.

Keelor has songs lamenting false politicians (God and Country), and decrying war (Love and Understanding) and what I think is a bit of both, with some mineworker issues thrown in (The Fuse).

Cuddy contributes a nice body of divorce/break up songs with "How Long", "Girl of Mine", "Now and Forever" and "House of Dreams".

Both contributions are excellent, but a whole album of Keelor's protests would be preachy, and whole album of Cuddy's sad introspection would be monotone and depressing.

Put them together, and it really really works.

Some of Keelor's better protest lyrics are from one of my favourites, "Love and Understanding":

I live on this rock
Where the grass don't grow
Talk is cheap well I ought to know
And I'm not proud of this world we've made
Still it's a part of you and me
And we're the only ones who can
Make it change.

I love this song, which captures that while Keelor is angry at the world, deep down he dreams of something better. In the chorus he really personalizes how he approaches the problem, rather than preaching "Love and understanding are the best answers I've heard yet."

For his part, Cuddy is the master of the Fading Relationship Song, aptly summed up in the chorus to "How Long"

"How long will it take
'Til you open up your eyes
I've been gone for years
You never even realized

How long
How long"

I do have two small criticisms of this album.

First, the title track (and a hit), "Diamond Mine" is a clear example of Keelor's noodling not being reigned in by Cuddy. It is a goofy, bluesy Surfer sound that never quite comes together, but takes seven plus minutes trying.

Second, for some unknown reason, Blue Rodeo peppered this album with short 30 second or 1 minute tracks of them experimentally noodling. The tracks, called "Blues Piano", "Percussive Piano" and "Swells" are annoying interruptions to the music. Also, they are not listed so the track listings don't make any sense. When you go to upload songs, you'll find the short tracks make everything else not match up. Keep that stuff in the studios, boys.

I'll close by noting that these guys can both really play the guitar. Sheila and I have seen them twice in concert and I can attest first hand these guys wail. Cuddy is a more straightforward folk/rock player, but at a high level. Keelor is kind of harder to quantify - I'll call it a Surfer Guitar that got lost in the Prairies and had to resort to playing in blues clubs to pay bus fare home.

Of course that didn't happen, but if Blue Rodeo wrote a song about it, you'd believe it did, and you'd be glad to hear the story.

If you don't have this album you should get it - it should be the second album of their's you buy. What's the first? Hey - one review at a time.

Best tracks: How Long, Love and Understanding, Girl of Mine, Now and Forever, Fall In Line, Fuse

CD Odyssey Disc 62: Primus

The next disc is proof that a band can be good, and you can still not enjoy them very much.

Disc 62 is...Tales From the Punchbowl

Artist: Primus

Year of Release: 1995

How I Came To Know It: I've heard Primus here and there at friend's houses for years, but this album was a gift from Sheila for my birthday, I believe. It was a valiant effort to try a new band that, by all rights, I should have liked. I have no complaints though - I once bought here a "Talk Talk" album for her with similar results. Talk Talk will not appear on this Odyssey, having already gone to that great Used CD Store in the Sky.

How It Stacks Up: I only have the one album, so I can't compare. I am told by those in the know that "Sailing The Seas of Cheese" is their defining album, but I have no idea.

Rating: 2 stars with a thumbs down (but it should be 3 stars for most folks).

This album was an odd experience. Primus is some kind of odd combination of prog and funk, and maybe a little metal. It is the kind of weird crossover that naturally appeals to me.

For all this, the album just doesn't appeal to me. There is no question these guys can play - especially the bass player and the drummer. Their songs are very innovative and interesting.

At the same time, it comes off sometimes as a bit of a 'hot mess' to borrow a dancing term. The constantly changing groove that is so fun in music like Rush just doesn't connect for me with Primus.

In their first song "Professor Nutbutter's House of Treats" (all the tracks have bizarre names) I actually checked the CD clock on my stereo because it seemed like it had been going on forever. It had actually been playing for 4:34. Then, it proceeded to go on forever - 6 minutes or so.

There are some good songs, "Mrs. Blaileen" is pretty cool, and has a good groove, and the song that was apparently famous "Wynona's Big Brown Beaver" is goofy and fun.

Having said this at the end of the day, a lot of these songs just kind of blend together. They are all different, but they all kind of sound a bit the same.

I think many listens to Primus would definitely make me appreciate them more. I did almost two listens and the second listen was better as I got an ear for them. But I've got a lot of CDs and not a lot of space, and I'm not sure realistically how often this album is going to get played over the years.

I must reluctantly part company with Primus. They are good, but they are not for me. At least not now. Maybe some time in the future, I'll be standing in The Great Used CD Store In The Sky, and across the aisles my eyes will meet the eyes of the punchbowl spoons on the album cover. Then, I'll remember our brief relationship and want to rekindle it, and make up for lost time. You never know.

Best tracks: Mrs. Blaileen

CD Odyssey Disc 61: Belle and Sebastian

The next entry on the Odyssey has a great album name.

Disc 61 is...Fold Your Hands Child, You Walk Like a Peasant

Artist: Belle & Sebastian

Year of Release: 2000

How I Came To Know It: I was actually bought a Belle & Sebastian album for my birthday seven or eight years ago. This album (for brevity's sake I'll call it "Fold Your Hands") is me drilling through their back catalogue.

How It Stacks Up: I have three of Belle & Sebastian's albums. I think this one is definitely third on this list. I'd like to get Tigermilk, as I don't have that one, but I haven't been keen of late, and have been going in a different direction.

Rating: 2 stars with a thumbs up.

Belle & Sebastian are a band from Scotland, and in the oughts are one of the chief musical exports from that country. In the indie/pop genre they seem to be a pretty big thing, since most music lovers know who they are, despite my never hearing them on the radio.

Then again, I never listen to the radio, so who knows if they are on it. I hope not.

I like this band because they have a cool mix of poppy upbeat songs with lyrics that are at times disturbing.

Consider a flighty pop song like "The Chalet Lines". The song is so gentle it might be a few listens before you really pick up on the lyrics. You start to hear them, and they go something like this:

"He raped me in the chalet lines
I had just said no for the final time
Although it's last month it's like yesterday
I missed my time, I don't think I could stand
To take the test, I'm feeling sick
Fuck this, I've felt like this for a week
I'd put a knife right into his eyes."

Actually, they're not something like that - that's them exactly. Yikes.

Visually, Belle & Sebastian album covers always remind me of Jones Soda bottles; they seem to have no connection with either the band. Just some random photo. See the young, sleep deprived girl above, clutching her book in the mirror. Why? Why? There is no right answer.

On the back of "Fold Your Hands"' liner notes there is another photo (couldn't find it online) featuring a bunch of folks dressed in 30s clothing, as well as a guy in a gorilla suit holding a platter. The picture's caption reads, "Please don't let them make me a monkey butler."

I don't know exactly what they're getting at, but at face value, I agree. No one wants to be forced to be a monkey butler. The suit is hot, and the pay is probably low. Also, you are probably blamed for breaking the china, even though it slips from your fingers because you are wearing a monkey costume. But I digress...

Anyway - somewhere between Kris Kristoffersen's constant decision to have only a giant picture of his head on his albums, and Belle & Sebastian's decision to choose detached arty photos of no particular purpose, I am sure the truth lies.

To return to this particular album, it is by far the most dark of the three I have. I don't mind the dark, it is all part of the experience of this band, and it makes them better.

However, "Fold Your Hands" is a little uneven, and for every strong pop track there is a song that veers into the weird but loses some quality in the process.

That said, there are many good tracks on the album, and it is worth a listen or two or three. If the lyrics creep up on you, don't be alarmed - they are creepy. It is meant to be that way.

Best tracks: I Fought In a War, Don't Leave The Light On Baby, The Wrong Girl, The Chalet Lines, Women's Realm