C.A.T: Ladies and Gentlemen We Are Floating in Space

Spiritualized – Ladies and Gentlemen We Are Floating in Space (1997)

1997 saw great new albums from Pavement, Radiohead, The Verve, Oasis and Foo Fighters, some of which we have already paid tribute to in this very feature. But Spiritualized is a group that as far as I can recall has only shown up as honorable mentions on lists I’ve done. Let’s change that right now by taking a look at certainly their best album, Ladies and Gentlemen We Are Floating in Space.

This album is a great one to listen to as you wander the streets, ride a bus or look out an airplane window. It’s slow and hypnotic, spending plenty of time working on repetitive riffs that somehow become catchy and memorable. There’s an element of sadness to the album, but it comes more from a disappointment in the state of the world and human nature than usual musical tropes.

Ladies and Gentlemen We Are Floating in Space is also one of those albums that works best taken in its entirety. The songs are arranged in such away that one track leads into the next, it’s hard to describe, but each song seems better when taken in context. When I play the LP I always start on the first track, it just feels wrong to begin anywhere else, and I often find myself sticking with it for much of the way through. I don’t really think of it as individual songs, but one cohesive whole. By the way, Ladies and Gentlemen We Are Floating in Space is 70 minutes long (it even says so on the album cover), including an amazing 17-minute final track.

I got hooked by hearing the opening track, “Ladies and Gentlemen We Are Floating in Space.” The simplicity of the song and the astounding repetition of the lyric “all I want in life’s a little bit of love to take the pain away” really got to me. This is another side of Brit Pop, one I definitely believe deserved more attention and acclaim.

Favorite Tracks: “Ladies and Gentlemen We Are Floating in Space,” “Come Together,” “I Think I’m in Love”

C.A.T.: Endtroducing…..

DJ Shadow – Endtroducing….. (1996)

So it’s around 1 or 2 AM, and I’m not really feeling like going to bed quite yet, so what music do I decide should ease me into these wee hours of the morning? Well lately it’s been the etherial hip-hop odyssey that is DJ Shadow’s debut Endtroducing…. I’m not saying it’ll put you to sleep, but for some reason it just seems like a good fit for those restless nights, I don’t know why.

This album would eventually make it into the Guinness book of world records for being the first album made completely of samples. All DJ Shadow used to make the album was a 12-bit sampling drum machine, a set of turntables, and an early version of Pro Tools. Now I’m sure just on that basis, if you’d never heard this album you probably say, “why would I want to listening to music that is made completely from non-original material?” And my answer would be that there really is an artistry to the way Shadow employs his encyclopedic knowledge of obscure music to create something that is quite the opposite of derivative. In fact there aren’t many albums that sound quite like it, not that I’d really know.

Endtroducing…. is generally classified as hip-hop, but really hip-hop is just one piece of the puzzle that is this album. The genre combines with jazz, funk, classical, and all sorts of different sounds to make an album that has a surprisingly somber tone, while still giving you plenty of funky moments as well. “Midnight In A Perfect World” probably best defines the heavy piano and funky drum sound that exemplifies the album, but if I had to pick a favorite track, it’d have to be the relentlessly bad-ass “The Number Song”.

So if you’re looking for something different, check it out. I mean how many people can say they have more than one instrumental hip-hop album in their collection? As far as I’m concerned, this might be the only one I’ll ever need.

Favorite Tracks: “The Number Song”, “Stem/Long Stem *Transmission 2”, “Midnight In A Perfect World”

C.A.T: I Should Coco

Supergrass – I Should Coco (1995)

Remember when we were doing a “Classic Album Tuesday” for every year? Well I’m bringing it back and I believe we left off at 94′ so here’s the debut from Supergrass for 95. What happens when you mix frenetic punk music with pop melodies and shrill vocals? You get Supergrass, a high energy trio from Oxford that’ll rock yer socks off. From their hit single “Alright” to their other genre defying singles I Should Coco is an unpredictable mish mash of punk/pop inspirations.

I first heard about the group from their song “Caught by the Fuzz” featured at the end of Hot Fuzz and soon enough realized they were responsible for the hit song “Alright” featured in a handful of commercials a few years ago. They’re definitely one of those bands that has a definite identity and you can usually spot them from a mile away with Gaz Coombes distinct vocals. At first I found him annoying but somehow I became a fan with time, well suited for this kind of garage rock music.

I’ve never really had as much interest in another Supergrass album like “I Should Coco.” It just feels fresh and no holds bar, something I never found on future Supergrass releases. The band would go on to record five more albums before calling it quits in 2010, but I’ll always remember them for this one, you could say its’…. “Alright?” Ehh?

Favorite Tracks: “Alright”, “I’d Like to Know”, “Mansized Rooster”

80s Week: C.A.T: Slippery When Wet

Bon Jovi – Sippery When Wet (1986)

Timeline
222, 000 – 250,00 Years Ago – Man Walks the Earth

1492 – Columbus Discovers America

1776 – The Declaration of Independence

1984 – “Where’s the Beef?” Commercials air.

1986 – “Slippery When Wet” is released.

Prepare to transport yourself back to a 1980s strip club, kick back some brews, and get your rocks off! Cause this week’s “Classic Album Tuesday” honors none other than the pinnacle of 80s hair metal Slippery When Wet. Bon Jovi’s biggest commercial and critical success to date. With more 80s hit’s than you could bang your head to, it’s time to go forward and never say goodbye…

Still searching for that ever fleeting limelight after the release of their moderate success 7800 Fahrenheit, these Hairy Jersey Boys recruited hit songsmith Desmond Child to help pen some new tunes, but no one could of guessed that it would result in the band’s finest hour. For this release would include such super-mega hits as; “You Give Love a Bad Name”, “Livin’ on a Prayer” and “Wanted Dead or Alive” the latter of which was notably featured in the critically acclaimed web series War Story. Later cancelled for it’s controversial depiction of the Portuguese military.

True there were many distinguished Hair Metal gods in the 80s, like Winger and Dokken, but no other has had the same kind of impact or longevity as Jon Bon Jovi. If Garden State Icon Bruce Springsteen is “The Boss” than Jon Bon Jovi must be his assistant manager. Though you mustn’t overlook the talents of guitarist/songwriter/loyal sidekick Richie Sambora, who’s solo on “Raise Your Hands” could bring Satan himself to tears. The other guys are okay too I guess; Tico the drummer, that guy who looks like Goldilocks, and what’s his face. Yeah they are uh, really important.

But seriously “Livin’ on a Prayer”? That’s what it’s all about. I’ll bet if God challenged Satan to an epic battle to end all battles this would be the theme song and it would be awesome. “Ooh Wah ooh Wah” it’s like they built a robot and programmed it to rock. “Wanted Dead or Alive” is another contender for the category of “Greatest Song Ever” but it’s slightly diminished for it’s association with the dubious War Story, you folks watch out for that stuff.

It’s a shame that we’ve already reviewed or featured such classic 80s albums like Thriller and Born in the U.S.A but hey, look at the bright side “BON JOVI!” the day they break up will be the end of days. Though in all honesty, I may have exaggerated my liking of Bon Jovi just a tad.

Favorite Tracks: “Livin’ on a Prayer”, “Wanted Dead or Alive”, “You Give Love a Bad Name.”

C.A.T.: There’s Nothing Wrong With Love

Built To Spill – There’s Nothing Wrong With Love (1994)

From what I’ve been told, next week we’ll be taking a break from these chronological CAT’s with something ’80s related, since I guess we’ll be doing ’80s week starting Sunday. Anyways, I would say 1994 is probably the best year of the ’90s as far as music; just a lot of good albums that came out that year. However, we’ve already talked about most of the notable albums that came out that year already on this blog. Yet I still haven’t talked about one 1994 album that ranks among my favorite albums of the ’90s, Built To Spill’s There’s Nothing Wrong With Love.

Led by singer/guitarist Doug Martsch, Built To Spill have probably been most distinguished by Martsch’s intricate guitar work, which in retrospect seems much more layered and complex than your average ’90s indie band. “Jangly” would definitely be the easiest way of describing a lot of Martsch’s guitar work, but he’s also never afraid to go for those big piercing solos either. But unlike on subsequent Built To Spill releases, the songs here are more self-contained in this very pop-oriented way.

I really like the somewhat whimsical and nostalgic nature of the lyrics on songs like “Car” or “Twin Falls”, which have a nice counterbalance to the sprawling jam-oriented songs. I guess most people seem to prefer this bigger sound from Built To Spill, since their major label debut Perfect From Now On is usually regarded as the band’s finest work. But if you ask me, the combination of Martsch’s affinity for catchy melodies and guitar pyrotechnics are just about perfect on There’s Nothing Wrong With Love.

I feel like I need to do a more mainstream album one of this weeks, since it seems like I keep playing the “hip/indie/relatively obscure” card over and over again. Not that it matters, no one reads these anyways.

Favorite Tracks: “Big Dipper”, “Car”, “Distopian Dream Girl”

C.A.T: In Utero

Nirvana – In Utero (1993)

I so did not want to do this Classic Album Tuesday post but I couldn’t let our chronological streak die. I didn’t even do this on tuesday, how lame is that? Anyways I love this album, how can you live anywhere near Seattle and not like Nirvana? When they could of capitalized on their success with another record like Nevermind, this unconventional trio opted for something even edgier. A raw and abrasive collection of muddy and moody grunge rockers, In Utero may represent this band even better than their smash hit predecessor.

At first glance a fan of Nevermind might even be disappointed. There’s few breakout singles on In Utero and the record company was almost hesitant to release it, deeming it not commercially viable. Though submerge yourself deeper and you’ll find this truly is a bittersweet masterpiece. It’s dark and depressing, but powerful and compelling and if you just want to rock out than this is as well the album you need to hear. Tracks like “Tourettes” or “Very Ape” border on metal or even punk it’s crazy.

I feel bad that I had to phone in this album review because it really is something special. Sadly this would be the final of only three Nirvana albums as we all know what would follow. As Cobain quoted Neil Young in his suicide note “It’s better to burn out than to fade away.”

Favorite Tracks: “Frances Farmer Will Have Her Revenge on Seattle”, “Rape Me”, “Serve the Servants

C.A.T.: Slanted and Enchanted

Pavement – Slanted and Enchanted (1992)

Now that these CAT’s have made their way into the ’90s, I figured I’d have to do a Pavement album at some point, so I’m just gonna get it out of the way with their debut Slanted and Enchanted. You’d probably be hard-pressed to find a more important indie rock album to come out of the ’90s, as it basically did for the indie/underground scene what Nirvana’s Nevermind did for mainstream alternative rock.

This album as well as Pavement as a band were born out of the early lo-fi collaborations between Stephen Malkmus and Scott Kannberg. The two would eventually end up recording a few EPs in noted burned out hippie Gary Young’s basement before eventually recruiting Young to be their drummer. After piecing together the rest of the Pavement line-up, the group recorded Slanted and Enchanted in Young’s home studio before releasing it on Matador Records. The fact that it was recorded in someone’s basement definitely seems fitting for the album’s ragged sound, as Pavement never seemed quite as delightfully unkept as they do on Slanted and Enchanted.

I will admit that I wasn’t quite as ecstatic about this album when I first heard it as I am today. I just don’t think I was quite ready for it when I bought The Luxe and Reduxe Edition back in high school, I mean I was still mainly listening to classic rock after all at that point. I guess some of the arrangements and Stephen Malkmus’s lyrics where just a little too “out there” for me. But of course now I see that that underground aesthetic combined with Malkmus and Kannberg’s knack for these surreal little pop songs are what make Pavement so damn charming, despite the fact that they were never the kind of band that begged for your affection.

I think for a while I actually said that 1995’s Wowee Zowee was my favorite Pavement album, even though that probably just sounds like I was trying to sound cool. But after recently going back over Pavement’s catalogue, I have to admit that I really can’t deny Slanted and Enchanted as their definitive album. So much for being unique.

Favorite Tracks: “Summer Babe (Winter Version)”, “Trigger Cut/Wounded Kite At :17”, “Loretta’s Scars”