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Glyn James - the bright red sock in the white wash of life.

The Scene - Tuesdays 10 till midnight - film and theatre reviews + + + + + + + + + + + + + + + Not On The Playlist - Wednesday 10 - midnight. If it had a tin, that's what it would say on it.

Yet more of the same

Posted by: Glyn James in MyBlog

Glyn James
I hear rumours!
No, not THAT record from Fleetwood Mac, but real rumours that Mr Tudno will be airborne next month (July). So as homework, what albums do we need to listen to, I hear you ask. Well, I would suggest Portishead's Third as a starter. Obviously if you aren't keen on them (and I'll need to know why in writing) you won't like it - it's a bit more like Dummy than P, though with more noises, but still with Beth Gibbons' inimitable vocal.
Of course you'll have predicted the Ting Tings would do well, and you'll be looking out for Bryn Christopher. Jason Pearce and Spiritualised (A&E) is certainly worth a go, and Sparks as I've said before (Mysterious Creatures of the Deep) is essential.
Two albums that are interesting because of their producers now. Firstlay Coldplay's Vida la Vida. Now since Parachutes, Coldplay haven't really troubled my turntable, so to speak, but mention the name Eno and I become interested. So has he achieved the impossible? Well, yes and no. If you liked X and Y you'll like this, and if you didn't, it's possible you might still like this. I felt that Chris Martin's rather whiny vocals tended to dominate that album and none of the songs really went anywhere. Eno's involvement certainly has sorted out the former, and the songs here do seem to have a more ambitious structure. Eno's wall of guitars lift an otherwise drab lead single, and he brings a string quartet to the fore in the title track. It'll sell in shedloads, of course, but maybe deservedly.
And finally to Neil Diamond. What? Well, Home Before Dark reunites him with Rick Rubin, producer of Johnny Cash's brilliant final albums. Of couse he isn't Cash, but he is a good songwriter. In 12 Songs, Diamond seemed reluctant to let Rubin work for him. That's changed, and where there once might have been lush arrangements, Rubin uses close-miking, little effects and achieves a pared-down sound. On Prety Amazing Grace, a nice little song has become a heartfelt statement, with Diamond's angry guitar underlining the gruff vocal. You might just be surprised with this one, and forever banish the line 'words I brang to you' to history.

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