Nirvana – Nevermind (1991)
Here it is the extreme return of Cat Fancy’s “Classic Album Tuesdays” via 90s week. Naturally I’ll be discussing one the most memorable and arguably best albums of the decade Nirvana’s 1991 release Nevermind.

With a riff that knocked the world off it’s rocker and an attitude to match, Nevermind wasn’t just a breakout album for this legendary Aberdeen trio but the heart of the Grunge movement in music. An electrified showcase of melancholy pop and masterful song writing and perhaps the greatest album of the extreme decade we call the 90s.

Starting out with some minimal success on their first album Bleach released in 1989. This blossoming northwest group wouldn’t truly find their sound until that defining year in 1991. With the recent addition of former Scream drummer Dave Grohl, Nirvana had paved a clean slate for a new batch of tunes that would soon define a generation.

Heading out to Smart Studios in the Spring 0f 1990, Nirvana had chosen former drummer of Killdozer/future founding member of the Alternative band Garbage Butch Vig to produce the sessions. Some important groundwork was done here but after some complications, recording was shut down. Sending around a demo Nirvana made the switch over to Geffen records keeping Vig and going down to L.A. to work their magic.

It wasn’t easy to tighten up Nirvana’s sludge rock sound but with the help of studio engineer Andy Wallace, Nirvana eventually created the trademark sound they’re known for today. Thick Guitars, intricate drums, clean picked bass, all topped off with Kurt Cobain’s angst filled voice truly made for something out of this world.

It’s no surprise that this was an instant success cause Nirvana just had something very special. With a brilliant songwriter in Kurt Cobain and an excellent rhythm section from Krist and Dave, all the elements came together. The style they created was almost like heavy metal pop I guess more popularly dubbed as grunge and every tune is filled with raw emotions and lyrics, that although may have been rushed by Kurt, are a trip to follow along to… That is if you can.

I wasn’t in to a lot of music growing up in the 90s but even I and everyone in my family had respect for Nirvana , and then when I did get into music it was a real treat discovering the greatness of Nirvana which I’ll always hold dear to my heart.

Favorite Tracks: “Breed”, “Drain You”, “Lithium”

T. Rex – Electric Warrior (1971)

Sorry I didn’t do the CAT last week, I intended on doing it but work and that fact that I couldn’t access any of the Lemme’s computers prevented me from doing it. Anyways, this week I thought I’d review Marc Bolan and T. Rex’s seminal 1971 breakthrough, Electric Warrior. It’s an album I continuously find myself coming back to, and it’s probably my favorite album to come out of the glam rock movement of the early seventies.

Electric Warrior showed T. Rex exploring a more electric rock sound than the earlier acoustic, folky sound Bolan and percussionist Mickey Finn had explored as a duo. This album shows T. Rex with a more band oriented format with the addition of bassist Steve Currie and drummer Bill Legend, as well as the backup vocals of Flo and Eddie of the Turtles. However, theres still a number of acoustic numbers such “Cosmic Dancer” and “Girl”, both of with feature some unique orchestral arrangements.

Of course, the album is probably best known for having T. Rex’s most famous song “Bang a Gong (Get It On)”. The song was their only hit in the U.S., despite having a long run of top 10 singles in the U.K. during the early seventies. “Bang A Gong” as well as many of the other songs on the album like “Planet Queen” and “Life’s a Gas” have a great laid back, glam rock sound that also features Marc Bolan’s spacey lyrics. There’s also a few songs with a more aggressive hard rock sound that T. Rex would persue on the fantastic follow up to this album, The Slider.

Along with the rise of the glam rock movement, Bolan and T. Rex became one of the leading figures of rock in Britain in the early Seventies. However, Bolan’s uncontrollable appetite for excessive drugs and alcohol would result in a decline in popularity and the eventual breakup of T. Rex just prior to Bolan’s sudden death in 1977.

Favorite Tracks: “Mambo Sun”, “Jeepster”, “Life’s a Gas”

Crosby, Stills & Nash – Crosby, Stills & Nash (1969)

Seeing as no one seems to be interested in reviewing a classic album this week, I thought I’d whip up an analysis of one of my favorite summer albums the self-titled debut from Crosby, Stills, & Nash.

Formed from the remnants of bands; Buffalo Springfield, The Hollies and The Byrds music lovers were given the pleasure of recieving one of the most influential and long lasting groups of the era and here’s where it all started. With the disintegration of Stephen Still’s band in 68′ and David Crosby’s dissmissal from The Byrds in 67′ these two veteran musicians began looking for a new project and soon enough, would join together jamming and working on songs together. In 1968, Crosby and Stills would be joined by Graham Nash for an impromptu performance of “You Don’t Have To Cry” only to discover their ability to create a unique vocal chemistry would be perfect for a new musical venture. Nash would leave The Hollies in a heartbeat and the trio signed to Atlantic records to cut one of the most beautiful and unique sounding albums of the late 60s.

Starting production of the album in June 1968, each member brought something different to the table to create this diverse record. Stephen Stills brought a bluesy, folk oriented sound to the group, accompanied by a southern drawl and some accomplished musicianship, Graham Nash, a member of the British Invasion crowd, would bring not only upbeat pop sensibilities but quite an impressive vocal range, while David Crosby added a powerful, soft spoken maturity to the tone and lyrics of the group.

Keeping most of instrumentation sparse, the most important aspect to take note here is the vocal abilities of these three diverse musicians. With Nash taking the high end, Crosby filling out the middle range and Stills’ Texan voice singing in his own bluesy manner, Crosby, Stills & Nash can’t be beat when it comes to harmonies and here we get plenty of folk, blues, pop and rock music to capitalize off of their unique voices.

I find it difficult to specifically note any key tracks, as I can’t find a weak spot on the entire record. It’s a very laid back and pleasant experience when it comes to the upbeat southern style of songs like “You Don’t Have to Cry”, “Helplessly Hoping” or the classic “Suite: Judy Blue Eyes” while the bittersweet folk of songs like “Guinnevere ” or the intimate “Lady of the Island” leave for a significantly more serene experience, and if by chance you’re not too big on the stripped down, unplugged sound of these songs, then you can find solace in the electric swagger of Crosby’s “Long Time Gone” and especially the casual rockin’ of “Wooden Ships”.

Crosby, Stills & Nash is without a doubt, required listening for fans of 60s rock and roll and definitely worth checking out for any fans of accomplished song-writing or singing. I always consider it to be perfectly suited for the warmer season and always find myself coming back to it on those muggy summer days.

Favorite Tracks: “Helplessly Hoping”, “Guinnevere”, “Suite: Judy Blue Eyes”

I know it’s pretty close to midnight already, and it surely will be tomorrow by the time I finish this post, but I’ve got to put my time in, you know? This work has got to be done.

David Bowie – Low (1977)
One of Bowie’s most popular and critically acclaimed albums, Low, was released in early 1977, one of the most important years in recent memory. As the first in the legendary “Berlin Trilogy;” the collaboration with Brian Eno, Low marked the beginning of another of Bowie’s “changes.”

While churning out incredible albums like Station to Station and starring in hit films like The Man Who Fell to Earth, David Bowie was also freaking himself out with cocaine and a wacky diet of milk and peppers. He also thought witches were stealing his semen and The Rolling Stones were sending him secret messages. But this is not that story. This is what came after that, when Bowie found himself interested in his art again, and tried to kick coke. The album titles refers to his withdraws-induced bad moods. The music here is serious and deals with heavy issues.

It is also awesome. The obvious influence here is the unstoppable sound of Kraftwerk, but Bowie brings plenty to the table here. Wikipedia says the drums’ sound was especially influential, all I know is that they sound neat. The album kicks off with the instrumental “Speed of Life,” which sets the tone for much of the album.

It occurs to me now that I’m really tired, so I’ll wrap this sucker up. The last half of the album is almost entirely instrumental, which may turn off Bowie fans. But I’m more than happy with what we get here, and I commend him for letting the music stand on its own. I know a lot of people want to pretend David Bowie is another sing-a-long artist, and just listen to classics like “Ziggy Stardust” and “Changes.” But his “musical chameleon” reputation is deserved. The dude knows what he’s doing and whether it’s the Sixties, Seventies or today, the tunes he delivers are pretty damn good.

Favorite Tracks: “Speed of Life,” “Sound and Vision,” “Subterraneans”

Cream – Wheels of Fire (1968)
In honor of the event “Hippiefest 2008”, which I attended on July 12th to see Jack Bruce (See “The Ottman Prophecies” for the full story) I decided to do a Cream album for this week’s classic album and why not an album that recently enjoyed it’s 40th anniversary? Cream’s psychedelic blues opus “Wheels of Fire” easily the most experimental album of their brief but memorable run.

Working closely with future Mountain bassist Felix Pappalardi, who would act as producer while also playing viola, bells, organ and brass on the album, Cream cut this epic double album Wheels of Fire. Spawning such hits as the poetic, wah guitar infused “White Room” and Clapton’s legendary rendition of Robert Johnson’s legendary blues standard “Crossroads” this would prove to be an impressive work from this band and era.

Musicianship here is nothing short of brilliant, as all three members show off their skill as the cream of the crop of British blues. Blues numbers like “Sitting on Top of the World” the Bruce penned “Politician” and Booker T. Jones’ “Born Under a Bad Sign” are stunning pieces chocked full of old Slowhand’s flawless guitar solos, Jack’s energetic bass lines and incredibly precise drum work from Ginger Baker. Not to forget the well layered vocals fronted by Bruce’s powerful Scottish howl and the obserd but memorable lyrics of Pete Brown.

One of my favorite aspects of this album is addition of more instruments to build up Cream’s already powerful sound. The ringing church bells of “Those Were the Days”, the morose violin work on numbers like “Deserted Cities of the Heart” and “As You Said” which accompanied by unique de-tunings and classical instruments like glockenspiels or bells sounds like a precursor to some of Led Zeppelin’s more acoustic, string based ventures and what can I say about “White Room”? It quickly became a great 60s rock standard.

Wheels of Fire may feel a tad exhausting by the time you reach the live portion of the album, but it’s completely worth wait for a number like “Crossroads”. Bruce and Baker’s rhythm is a dizzying orgy of immense grooves while Clapton shows us why so many call him a god. I could see why some could find this album too busy or complicated, but I say it’s a triumphant rock venture and once in a blue moon I still find myself coming back to it.

Favorite Tracks: “White Room”, “Deserted Cities of the Heart”, “Crossroads”