Kanye West- Gold Digger

This is the hugely successful single off Kanye West's second album, Late Registration.

Somehow, this is a pop song which combines a classic swing standard, useful advice about financial planning ("if you ain't no punk, holler 'We want pre-nup, we want pre-nup' ") and use of vocals as the backing instruments. Perhaps its an a capella rapsong?! Yet it all fits together seamlessly, resulting in pop music perfection.

As for the B-sides, rap isn't really my cup of tea, and Diamonds Are Forever or We Can Make It Better certainly aren't going to change that!

Favourite songs

Gold Digger

Worthwhile?

Yes, it's a left-field gem.

Cherry Poppin' Daddies- Susquehanna

Susquehanna is the Cherry Poppin' Daddies fifth album. It was released 2008 fifth album, eight years after Soul Caddy.

And it is every bit as eclectic as its predecessor! Bust Out wastes no time getting into the madness. It's more a collection of quirky novelties than a coherent song, but it does have its moments. The highlight for me, predictably enough, is the ska-styled bridge. Speaking of ska...

The ska offerings on this album are a bit hit and miss on this album. On one hand, Hi and Lo is very amateur-hour and feels pretty contrived. In theory, the combination of ska and the band that bought us the brilliantly intricate horn lines on the Zoot Suit Riot album sounds like an unstoppable combination, but Hi and Lo proves it can't be taken for granted. On the other hand, Hammerblow is formulaic ska perfection! Maybe the chorus doesn't quite maintain the frenetic level of energy, but that's just another way of saying that the verses are brilliantly driving and infectious. It's just as enjoyable as The Toasters at their best.

Blood Orange Sun takes a more relaxed approach, with a wonderful ska-ballad groove. There's a couple of awkward moments, but that's a worthwhile by-product of the experimentation. Undoubtedly though, the lyrics are the highlight of the song. They are chock full of wonderfully vivid imagery that meanders around a vague theme. Breathe takes a similar approach, and the result is again stunning.

All the right ingredients are present in White Trash Tootle Oo: a slammin' swing-rock chorus, ska verses and nice swing sections. Unfortunately, they just don't gel together into a song. Wingtips hold together much better, in fact it's a brilliant execution of ol' time swing. But I find the song is a bit undermined by the lyrics. Even though I can't make sense of them, I get the feeling the whole "diapers" thing is a cheap gag painfully stretched to fill a whole song. On a brighter note, Julie Grave is cheesy as hell, and great fun.

Roseanne has an absolutely smouldering Spanish style. Perfectly complemented by very emotive lyrics.

Finally (in my own mixed-up order here...), The Mongoose and the Snake is an interesting take on rockabilly. Again I find the song deserves a better chorus as a centrepiece, perhaps the missing ingredient is a bit more vocal intensity. Overall it's a refreshingly quirky rockabilly effort.

Favourite songs

The Mongoose and the Snake, Blood Orange Sun, Julie Grave, Roseanne, Hammerblow, Breathe

Worthwhile?

Yep. With bold experimentation like this, the occasional flop goes with the territory. But it's definitely worth it for the unique treasures within.

The Wallflowers- Bringing Down The Horse

The Wallflowers were formed in 1989. In 1996, four years after their self-titled debut, they released Bringing Down The Horse.

The opening track, One Headlight, is an absolute stunner. I'm always a fan of obscure lyrics, and these  are richly emotive and paint a wonderful series of fragmented images. Although a driving groove is an odd choice, the subtle yet incessant energy from the bass and drums works a treat. So it's actually a stroke of genius! And the icing on the cake is the  backing of the guitar and organ, which is brilliantly layered, yet also creates a sparse and haunting mood. These elements are all fantastic in their own right, so combining them into the same song runs the risk of ending up with a dog's breakfast. But that's the amazing thing, it all sits together perfectly.

6th Avenue Heartache also features the brilliant backing from the organ and steel guitar, but for me the song is let down by an uninspiring chorus. This is exaggerated by the feeling that there's enough material for a good 3 minute song in there, but stretching it to 5 minutes feels like flogging a dead horse.

Bleeder shows potential in places, but overall is a rambling mess. Three Marlenas' problem is that it is burdened with absolutely woeful lyrics. Combined with fairly generic backing music, there's nothing to make this song worthwhile. And Josephine is even more of a shame, because the organ in the background is whipping up a beautifully tortured storm. All that great work is completely undermined by terrible lyrics (exhibit A: "You're so sweet, you must taste like sugar and tangerine").

There's a few attempts at catchy pop songs on the album, with varying degrees of success. The Difference features a great singalong chorus is undoubtably the highlight, but the verses are simply a forgettable way to fill in the time between choruses. Laughing Out Loud works pretty well as generic pop. It lacks any emotional engagement, but that's not really an issue here. But Angel On My Bike is the pick of the bunch for me. The music is a catchy effort which ticks all the pop boxes. But the key difference is the lyrics, which are nicely engaging for a change.

Favourite songs

One Headlight, Angel On My Bike

Worthwhile?

One Headlight is a masterpiece, and in hindsight buying the single would have been a smarter move.

To end with a philosophical note, this album makes me wonder how does a band take such similar musical ingredients and create such a unique and wonderful hit with one song, yet somehow completely miss the mark with its very similar siblings? Or perhaps the real question is: how does a thoroughly uninspiring band somehow create such a unique and beautifully crafted masterpiece?

Bodyjar- self titled

Bodyjar's self-titled album saw them depart from eleven years of fast-paced pop-punk for a mid-paced rock style. It was released in 2005, three years after Plastic Skies.

Even after a few listens, I was struggling to get into this album. It felt like it should be catching and engaging, like the Foo Fighters at their best, yet none of the hooks were biting, making for a very forgettable experience.

Then, to perk myself up and try to get some Bodyjar love happening, I tried listening to some of their older albums. Big mistake! The older albums are just brimming with frenetic energy, and the upbeat music sits perfectly with the angsty lyrics. The counter-play of the soaring guitars, the vocal harmonies, the endless supply of hooks... bliss! Then, switching back to this 2005 album, it feels weighed down by the slower tempo, which also brings out a darker mood in the lyrics.

Maybe if this album was by another band, I might be able to appreciate it for the mid-paced rock that it is. And maybe I should respect Bodyjar for trying a new direction. But my overwhelming reaction to this album is mourning the loss of most of the things I enjoyed in previous Bodyjar albums.

Favourite songs

(none)

Worthwhile?

Not for me. Misplaced expectations make this album a non-starter.

Amy Winehouse- Back To Black

Back To Black is Amy Winehouse's second album. It was released in 2006, three years after Frank.

Rehab wastes no time getting to the point: poetic and tragic lyrics over a catchy soul-pop groove. Add in some nicely layered backing instruments, and the results are fantastic.

You Know I'm No Good ups the ante even further, thanks to a brilliantly infectious, and somehow sneaky, groove. The narrative is captivating, and brought to life with many little phrases that are loaded with vivid imagery.

While I view both the lyrics and the instrumental backing as brilliant elements in their own right, it seems they also rely on each other to create the magic. Exhibit A is Me & Mr Jones which is another example of a great story, but falls flat for me due to the lack of a catchy groove. Similarly, Love Is A Losing Game is all emotional n stuff, but just not catchy enough for me!

Just Friends is also a strange one, since the heavy ska groove should have me raving about it. But somehow it doesn't gel for me, seeming to lack intensity.

Back To Black is another featuring a knockout groove. However, the highlight for me is the anticipation built into the lyrics. Throughout the song, the phrase  "I go back to... I go back to..." cuts itself off each time with the next verse. Then, finally, the anticipation is released in the spine-tingling bridge which finally makes the admission: "...black". It's one of my all-time favourite uses of lyrical tension and release.

Reviewing Some Unholy War has been a pleasant surprise for me. Casually listening to it over the years on headphones, it never really appealed to me. But turned up loud on a decent stereo, the phat bass brings an extra dimension to the rock-solid groove.

Favourite songs

Rebah, You Know I'm No Good, Back To Black, Some Unholy War

Worthwhile?

Absolutely. The "favourite songs" list above might be mostly the pop hits, but they are both pop perfection and timeless classics.

Good Charlotte- The Young and the Hopeless

The Young And The Hopeless is Good Charlotte's second album. It was released in 2002 and shot the band to international pop success.

Kicking things off is A New Beginning, an overblown self-indulgent instrumental. Actually, it's quite a good start (well, except for the terrible recording quality).

Lifestyles Of The Rich & Famous is a bouncy, infectious little number. A particular highlight for me is the pre-chorus. Unfortunately, the novelty soon wears off though. With few new ideas to inject new life into the song, by the end it's flogging a dead horse.

Recording quality? Compressed to within an inch of its life and further blighted by various tacky distractions. Yuk.

Girls & Boys is similar, with a super catchy chorus and verses which... err... sufficiently fill the gaps between choruses. It's simply over-polished, lighthearted pop. So that's a thumbs up from me.

However, between the singles on the album, things are pretty barren. The ballads only highlight how whiney the vocals are, and songs like Riot Girl and The Day I Die are awfully superficial and brainless, both lyrically and musically. My Bloody Valentine has some potential thanks to an injection of some musical variety. Unfortunately, though, the chorus lacks the impact needed to tie it all together.

The quintessential teen angst song, The Anthem, has its moments. The lyrics, despite their whiney delivery, hit the spot perfectly. Also, the bridge and ending are pop-punk perfection. The highlight of the song for me is the pre-chorus. It's a common theme for this album, since Good Charlotte have nailed the art of ramping up the energy and driving up towards the chorus. In many of their other songs, I find the chorus itself to be a letdown, but The Anthem is a nice exception. The Young & The Hopeless is similar punk-pop perfection.

Favourite songs

The Anthem, Girls & Boys, The Young & The Hopeless

Worthwhile?

While it was fun at the time, there's no lasting appeal to this album. For me, this album is no more than its headline singles, and even these wear thin after a few listens.

This album had me thinking that maybe pop-punk in general is a disposable novelty, but then thankfully many efforts of Greenday, Millencolin and Bodyjar would suggest otherwise.

Moby- Play

This is Moby's fifth studio album, released in 1999. Moby's previous releases (including Animal Rights three years earlier) were mostly unsuccessful, so Play was the breakthrough which shot Moby to international success.

And Honey shows that every ounce of the success is deserved. The combination of an electronica trance with work-songs works a treat. You'd think the same short riff would get very tedious after 3 minutes. But it doesn't, it's brilliant.

Distorted lyrics are usually an irritation for me, and unfortunately they are a deal-breaker for Find My Baby. Which is a shame, because the background is very richly layered. There is similar emotional conflict for me with Bodyrock- somehow I really don't like it (perhaps the vocals)... but dammit that groove is irresistible!

The chillout style is another great string in Moby's bow. Porcelain is a great example, even though I actually find it hard to actively concentrate on. But in zoning in and out there are often wonderful surprises in the rich, yet subtle, tapestry in the background. Great use of piano and strings, so great you barely notice it! Why Does My Heart Feel So Bad is also wonderfully subtle yet complex.

Natural Blues, as per Honey, is a fantastic modern take on the work-song. Run On is similar, but with more of a gospel feel. And again, the combination of repetitive vocals, driving piano groove and electronic beat works a treat.

The style of Everloving is a bit of an oddball on this album. Yet, thanks to the chillout vibe, it also fits perfectly. However, the highlight of this instrumental is that without saying a word, it is intensely powerful and inspiring. Brilliant.

My immediate reaction when I think Moby is the work-songs (eg Honey and Natural Blues). But this album isn't as simple as "beats plus piano plus sampled vocals", there is a wonderful richness hiding just beneath the surface.

Favourite songs

Honey, Porcelain, Natural Blues, Run On, Everloving

Worthwhile?

Absolutely. Electronica rarely makes an appearance in my collection, so this album and Berlin Calling are unique gems for me.

Reverend Horton Heat- Laughin' & Cryin'

This is the 10th album from Reverend Horton Heat (RHH). It was released in 2009, five years after Revival.

Right from the start, Drinkin' And Smokin' Cigarettes signifies that the hillbilly influence is more dominant than previous RHH albums. The style doesn't really appeal to me and I find the execution here is quite cheesy. On the bright side, songs like Ain't No Saguaro In Texas, Rural Point Of View and Oh God Doesn't Work In Vegas are enjoyable thanks to their amusing lyrics.

Since psychobilly is more my cup of tea, Death Metal Guys is a welcome change of style. It definitely hits the spot for thoughtful yet headbanging rock, but unfortunately it drags out a bit towards the end.

River Ran Dry is vintage RHH fast-paced rockabilly goodness. There's nothing we haven't heard before, but when it works this well, I have not complaint with it!

At the opposite end of the spectrum, Just Let Me Hold My Paycheck is a woefully clunky and disjointed effort. And I don't have much nice to say about the rest of the album, so I'll stop my moaning here...

Favourite songs

Ain't No Saguaro In Texas, River Ran Dry, Oh God Doesn't Work In Vegas

I diggit?

No. Overall, it's quite a disappointment.

Los Capitanes- Scar

Not another cover! This piss-take version of Missy Higgins' hit Scar (review here) was released in 2010.

The immaturity starts with even the concept of the song: a ska version of a Scar... ska scar,... geddit?!

And the implementation itself is completely over the place, as it wildly oscillates between reggae, ska and punk. But it all hangs together nicely.

In the end, though, a lot of the appeal is out of spite. Since the original has been played to death on the radio, it is highly satisfying to sing along to such a ridiculous version of a pop hit...

Favourite songs

Scar

Worthwhile?

This immature and ridiculous cover arguably epitomises everything that is great about third-wave ska.

Nouvelle Vague- self titled

This is the 2004 debut album from Nouvelle Vague.

While technically an album of covers, many of the songs have been thoroughly reworked, so I consider them to be standalone songs in their own right.

The bands' signature soft style turns Love Will Tear Us Apart into a wonderful lullabye. Marian and Making Plans For Nigel use the same approach, however they somehow fail to make an impression on me. But that's not to say they're bad songs, because I really enjoy their style, so the songs still make for nicely relaxing background music.

However, In A Manner Of Speaking is definitely engaging, mainly thanks to the haunting and poetic lyrics. The music of Tuxedomoon's original is a bit too left-field for me, but the wonderfully understated Nouvelle Vague accompaniment brings it all together perfectly. It's recording quality, like most of the album, is wonderfully gentle, yet with nice subtle details (such as the crisp egg-shaker) if you go listening for them.

Guns Of Brixton is a tougher challenge, since The Clash have set such a high benchmark with the original. The styles of The Clash and Nouvelle Vague might both seem like a strange choice for a song with such a 'tough' narrative. Yet both unusual approaches perfectly capture the feelings of menace and torment, and are both favourite songs for me.

On the other hand, it is a miracle that they saw the potential in the awful original that is This Is Not A Love Song. Yet they've somehow turned it into a wonderfully catchy little pop song. And the lyrics take on a wonderful irony with the new style. Great stuff. Teenage Highs takes a similar approach, also to great effect.

When quintessentially frat-boy lyrics about bar-room brawls and drunken sex are sung in a soft style with female vocals, the result is fantastic Richard Cheese-esque humour. This is Too Drunk To Fuck in a nutshell. Yet I still enjoy the song after all these years, suggesting that it's not just a one-trick pony and actually a great song as well.

Although the tortured style of Psyche isn't to my liking, it is worthwhile on the album for injecting some variety. Finally, the sparse approach Friday Night Saturday Morning actually brings the sorrowful narrative to life, even more than original, therefore bringing an interesting new angle to the ska classic.

 

Favourite songs

In A Manner Of Speaking, Guns Of Brixton, This Is Not A Love Song, Too Drunk To Fuck, Friday Night Saturday Morning

 

Worthwhile?

Yes. The overall style that greatly appeals to me, and there are some standout highlights to top it off.