TheNiceGuy

The Police-Synchronicity (1983)



Track Listing:
1. Synchronicity I
2. Walking In Your Footsteps
3. O My God
4. Miss Gradenko
5. Synchronicity II
6. Every Breath You Take
7. King of Pain
8. Wrapped Around Your Finger
9. Tea In The Sahara
10. Murder By Numbers


Best Track: Every Breath You Take



Another reason why 'adult contemporary" and "quality" don't quite mix



The New Wave era was pretty much in it's twilight years by 1983, and so many bands went in different directions away from the original scene they sprung from. Some got even more diverse (Elvis Costello), others tried to shed their roots (Dire Straits) and a number went into either very mainstream synth pop (most of your New Romantics) or adult contemporary. The Police went mostly in the direction of the latter, shedding any of their reggae/punk/whatever ideas of their earlier, superior albums and insteading fashioning themselves as an adult contemp pop group. Commercially it was very successful; but in terms of quality and legacy it wasn't a great choice.


The opener is Synchronicity I, a mid tempo slightly funky number. Sting's vocals are well done, but the lack of a good melody to latch on to here means it's pretty uninspiring. I can almost say the exact same thing about Walking In Your Footsteps, except even Sting's vocals are pretty boring, bar a decent falsetto in the middle. The drumming does sound reminiscent of some world music, but it's very uniform and unchanging, grabbing your attention only briefly. O My God is yet another uninteresting track, although the slightly slappy bass line melody provides something to listen to. But everything else is very average; even the introduction of a sax does little to the lack of energy here.


These are all below average songs, but none of them are truely horrendous. Mother decides to buck that trend and start a stampede of absolute bollocks. The vocals are simply ugly; Summers is trying to sound desperate but in the end it comes out like he is trying way to hard. Copeland, who's drumming is normally superb (on previous albums), is barely heard. In fact the backing music to Summer's hideous wailings is just terrible, with a melody that sounds out of tune. Perhaps it was a delibrate ploy, but seriously what was going through their heads when they were writing that song?


Sting takes the vocals back for Miss Gradenko, which is apparantly a song about a romance in a communist nation. It's pretty poor, but at least it's short. The sequel to the opener, Synchronicity II, is kept together by a rocking guitar riff from Summers. Maybe you should stick to guitar playing instead of vocals old boy? Finally we get a song of good quality with Every Breath You Take. All the instruments blend together well, especially the guitar and bass. Sting's vocals come out sincerely and strongly, and lyrically the song is also the best on the album. Honestly who cannot identify just a little with the song? The outro with the echoey backing vocals finishes the song in the same, slightly creepy yet romantic style. Another single King of Pain has a decent jaunty synth line, which along with the snappy guitar solo makes this alright. The 80's feel is undenieably present, but it doesn't become offensive unlike earlier tracks.


Wrapped Around Your Finger has a menacing atmosphere which re-creates the strengths of Every Breath, without the melodic power of the former. Nonetheless it is one of the better songs here. The intimate Tea in the Sahara sounds like a good Phil Collins ballad, could be taken as a compliment or an insult. It's tiresome but it the soft bass thud provides adequate interest for the ears. Murder by Numbers is hampered by it's annoying hooks and Sting's cliched lyrics. The guitar work is vaguely interesting, but it lacks the ability to grab you. All in all it's a pretty weak way to finish the album.


It surprises me little that there was a lot of tension between the members of the band during the recording of Synchronicity, which is reflected in the material on the album. The few good cuts, especially Every Breath, keep the album out of the bad section but there's enough fluff here to give it a pretty poor score. Not the way you really want to go out guys...


7/15

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Trollheart

I was never a huge fan of the Police (don't hit me, officer!) but would definitely agree that "Reggata de blanc" and "Outlandos d'amour" are far superior albums in their catalogue, when they were kind of finding their feet and dealing with some surprise I think with the rather unadulterated praise and acclaim they were getting. After those albums they really seemed to write songs with the specific intention of getting into/staying in the charts, while on the first two they genuinely sounded like they were enjoying themselves.

And let's not even talk about the solo career of Sting! Man, when I saw that guy on LiveAid singing acapella just supported by a very annoying clarinet or sax or something, I just made my mind up to hate everything the guy wrote from then on. I probably don't, but old wounds heal slowly.

Haven't heard this album, but from your (pretty damn good) review sounds like the closer said it all, replace "murder" with "music" or "pop".

Disclaimer: this does not of course include the sumptuous "Every breath" ...

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TheNiceGuy

Emerson Lake & Palmer-Pictures At An Exhibition (1971)






Track Lisiting:
1. Promenade
2. The Gnome
3. Promenade
4. The Sage
5. The Old Castle
6. Blues Variation
7. Promenade
8. The Hut of Baba Yaga
9. The Curse of Baba Yaga
10. The Hut of Baba Yaga (Pt2)
11. The Great Gates of Kiev/The End
12. Nutrocker


Best Track: Blues Variation or The Great Gates of Kiev



Proof that classical and rock are compatible



One of Prog Rock's greatest achievements was to mix more classical/jazz elements from music into the more blues dominated rock style. Pictures At An Exhibition is perhaps the greatest example of this, as it is an adapted version of Mussorgsky's Pictures At An Exhibition. Keith Emerson, Greg Lake and Carl Palmer were all virtuoso musicians in terms of skill, so the playing wouldn't be a problem. But would the "rocking" up of the classical sound and the addition of lyrics butcher the original piece's charm? This was the risk ELP took in 1971.


The recurring theme of Promenade gets us going, with Emerson doing the honours with his organs, giving the starting atmosphere a heavy medieval ambience. The Gnome immediately jumps back into a more conventional ELP sound with massive drum rolls from Palmer breaking up Emerson's screeching keyboards and Lake's bass thudding. Then Emerson gets his Moog going, which throws another curveball into the sound. Forget medieval, the atmosphere has jumped into a futuristic setting. This particular part is very similar to the many keyboard suites in Tarkus, but the rapid change in mood really hits and would perhaps shock a listener unacquainted with ELP's previous work.


Promenade returns, with Lake providing some soothing vocals to return us to a more intimate feeling. But don't get too calm, Emerson decides to burst out in The Sage with some synthy blasts, before Lake takes control again with some more intimate acoustic guitar work and mournful lyrics. Reflecting on the human race in a classical-orientated piece? Interesting, and not at all boring or too pretentious.


One forgets this is a live album until you hear the applause at the start of The Old Castle. Emerson decides to amaze everyone with some of the weirdest sounds you've ever heard from a keyboard; sharp twitchy wailing that the crowd loves. The drums hit in providing a beat for Emerson to solo around, with some superb flexible playing shown. Blues Variation reverts away from the classical and instead gives as an organ-led rocker, that is funnily enough bluesy. Who would have guessed hey? As per standard Emerson makes up for the lack of a lead guitarist with some hard organ funk with chunky basslines beneath keeping him from doing something too crazy. But that doesn't work; Emerson blasts everyone away with a Moog synth explosion at the end, finishing the song with a metaphorical bang. (And hearing problems)


The next Promenade is features very heavy almost metallic drumming from Palmer. One feels the theme is getting a bit tiresome, but they are trying to keep true to the original as much as possible in terms of form. Squeeling organs slash through The Hut of Baba Yaga, before the craziness hits in with a wah-wah sounding synth workout from Emerson blurting its way around in The Curse of Baba Yaga. Being a keyboardist myself it's hard not to listen in awe at Emerson's skills. Lake is back on the vocals again, though this time it's a harsh shout rather than a soothing whisper. The drumming and keyboard interplay is again quality, which manifests itself more in the second part of The Hut of Baba Yaga. The Great Gates of Kiev features much better voice parts from Lake, providing a stirring vocal grace against Emerson's dense organ background. The ending drumroll is spectacular and quite epic as well. Also the part where one of the three asks, "Do you want some more music?" Pretty cool uplifting stuff. Nutrocker is a nice fun piece thats diffuses some of the emotional musical extremes from the earlier songs. Granted it's not quite as satisfying as the others and the solos aren't as good, but it certainly ain't the worst closer to go out on. The roaring crowd testifies this.


Honestly despite my liking of this album not everyone will like what ELP did to this classical piece. Some would argue that the solos get overblown, and others may say it gets a bit repetitive. But overall I'm very pleased with this album. Certainly if you are interested at all in some top notch keyboard work then this album may be one to have a good listen to.


12/15

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TheNiceGuy

The Sex Pistols-Never Mind The Bollocks, Here's The Sex Pistols (1977)



Track Listing:
1. Holidays in the Sun
2. Bodies
3. No Feelings
4. Liar
5. God Save The Queen
6. Problems
7. Seventeen
8. Anarchy in the UK
9. Submission
10. Pretty Vacant
11. New York
12. EMI

Best Track: Anarchy in the UK

Attitude over music? Not in my books lads

The Sex Pistols are given the crown of the best punk band (at least for the class of '77 bands) more by historical influence then for anything that they actually made. The Clash, undersevedly receive the second spot despite them being more eclectic and political, The Jam had a better songwriter in Paul Weller and a much greater respect for their forefathers, The Buzzcocks effectively invented pop-punk, The Damned had a much better vocalist and The Ramones melodically easily trumped the Pistols. So really what made them so special to receive the "greatest" tag? Perhaps one would say their only studio LP, Never Mind The Bollocks..., would answer this question. And well, in my eyes without doubt it did answer it at the very least.

Holidays in The Sun kicks us off, with a riff that sounds eerily similar to The Jam's In The City. It isn't the worst riff to copy but it immediately gives off the odour of these guys having not much creative ability. Lydon's vocals come across in a whiny tone that isn't used strongly here. Bodies uses his cockney whine to better effect, with the all out agression marrying nicely with his remarkably descriptive tales of abortion and saying **** over 6 times. The opening line (She was a girl from Birmingham/She just had an abortion) sets the scene with perfect clarity for those who were confused about the Pistols were! No Feelings has quite a bland guitar line, but the No Feeling hook is gripping and yet again Lydon whines along with the overall pace of the rhythm section quite energetically. So the vocals so far haven't been bad, if anything they are very appropriate with the style and attitude of punk.

I can't say that for the guitarwork though, which is really a major problem for the whole record. Take the track Liar for example. The problem isn't with the solo, which is interesting enough in a pacy snappy kind of way, it's with the main riffs of the songs. The're all very samey, straight forward and lacking any real attraction melodically. And with a rhythm section that is only half decent (with the decent bit being Cook's steady drumming, certainly not Sid Vicious' bass playing, if you can call it playing), this means that there is really puts a lot of pressure on Lydon to do a good vocal job, otherwise it'll all fall to ****. The rant against the Royals being God Save The Queen straddles this line between half decent punk and amateurish bollocks, with a somewhat effective riff having a showdown with Lydons shrieks. But the middle section is simply noise and unintelligible Lydon aristocracy bashing, before an ok (yes only ok) outgoing hook of "No Future....for you" leading out the song. Problems has a decent riff, which is only really enhanced by some surpisingly nimble drumming from Cook. The real problem here is that Lydon completely messes up the main hook of the song, turning it into an ugly slur that could only be memorable to perhaps some inebriates, which was the main punk audience really.

Seventeen is an unmemorable run-of-the-mill gritty punk rush, but then we get the Pistol's calling card Anarchy in the UK. Well for once Jones delivers a strong riff that pushs the song along with energy, whilst Lydon's vibrating wailing really hits, especially when he goes on about the MPLA and IRA. And of course who can not be perked up by the outgoing cry of "I wanna beeee innnn anarchyyyyy..."? This is perhaps the best this band ever got working as a band, rather then as individuals. If someone wanted a song that perhaps defined the Pistols best than this would fit in nicely.

Submission gets points for being a bit weird, with all the rubbery sound making that jars nicely with perhaps Sid's only decent bassline. (Or was this one of the songs that Matlock played on? If so then Mr Vicious did ****-****ing all musically!) The riffing is perhaps at it's best with guitar hero favourite Pretty Vacant, which is solid enough in the vocals department as well. New York is another example though of the bland riffing I mentioned before, and with little else to latch on to how can I really like this song? Lydon raging about porno-***gots? Nope. My reaction is exactly the same for EMI.

So what do I say? Pretty bollocks would be apt, but there is enough mildly interesting material here and certainly this album doesn't lack in attitude. A second album woud've been interesting; simply to see if the band would progress or stick to their classic "destroy everything" punk schtick. Or maybe they would've drifted down more into a post-punk/noise rock path like Lydon's next band Public Image Limited, which in my eyes is significantly superior to the Pistols. But anyway the fact is the Pistols had their brief moment in the sun, and they did have influence for many punk bands that came after. Despite this I can only really give this record a weak 7.

7/15

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