No. 313: Talking Heads - "The Name Of This Band Is Talking Heads" (1982)

A superb double live set from one of the best bands to emerge from the New York "New Wave" scene in the late 1970's.
Originally released in 1982 (and also as an expanded reissue with extra material in 2004), this live album is divided into two distinct parts. The first disc shows the quartet in stunningly raw form on selected performances from 1977 to 1979, with David Byrne's intelligent observations on everyday life cutting through the tight, funky tones of Fender Duo-Sonic guitars like a knife. Really great stuff. There is plenty of evidence from these early performances that this band were on there way to stamping their identity on the 80's, albeit with much more radio-friendly fare than what can be found here.
The real treat however is the second disc, featuring the expanded 10-piece line up from the 1980-81 Remain In Light tour which showcased that album's experimentation with percussion and African polyrhythms. The results are glorious: from the percussive overload of "I Zimbra" to the electro-funk of "Crosseyed And Painless" this band deliveries in spades. And the version of "The Great Curve" contained here is definitely one of the best things I've ever heard on a live album. Seriously good.
At the risk of sounding like Molly, do yourself a favour, check this out. I would even go as far to say it is flawless. Or as close to it as you can get.

No. 314: Madvillain - "Madvillainy" (2004)

Superb beats. Lyrically inventive. Totally uncommercial.
One of the great hip hop albums from the last decade - a brilliant yet underrated collaboration between MF Doom and DJ/producer Madlib.
The songs are short and snappy and make use of some obscure samples - from artists like Sun Ra & Bill Evans - the outcome being a clever and often bizarre sonic tapestry weaved by master-producer Madlib. Doom's deadpan drawl is the real highlight though: his rhymes are inventive, funny and above all, super-cool - a totally refreshing presence in a genre dominated by chest-beaters & Jay-Z wannabe's.
This album demands repeated listens - and you'll need it to get accustomed to the endlessly clever lines dropped in by Doom. There are no noticeable hooks or conventional "verse-chorus-verse" structures on this record, and it's this unpredictable feel which adds to its appeal. And make sure you check out the cartoon music video for "All Caps" - a fine piece of work which avoids all the cliches found in modern day hip-hop music videos. There's even a Madvillain action figure out in the market too. How cool is that??
This record is best enjoyed in the half-light of dawn on a head-set after a big night out - a great listen indeed. And if the rumours are true (and I pray they are), a second Madvillain album may be unleashed on us in the near future.
All hail the Villain!

No. 315: Syd Barrett - "Barrett" (1970)

The sounds of a man hanging on in quiet desperation...
Syd Barrett was the vibrant & talented founder/ songwriter / guitarist for Pink Floyd, who broke out of the mid-6o's London Underground scene with their debut album Piper At The Gates Of Dawn in 1967. Filled with Barrett's songs of whimsy and English psychedelica, it put the band on the musical map - but then it all went pear-shaped for Syd.
Suffering mental illness and schizophrenic tendencies, possibly exacerbated by his prodigious drug intake, he eventually left Pink Floyd in 1968. He went on to make two obscure solo albums - aided by his replacement in Pink Floyd, David Gilmour - before disappearing totally from the music industry in 1972 to live a quiet life in London & Cambridge, until his death in 2006.
Barrett was Syd's second and final solo album - a bizarre, sad, lonely and baffling record that seems to document a life unraveling before the listeners ears. At times out of tune and time (Barrett was notoriously hard to play with as he changed key and time signatures at random points during songs), this record also contains some brilliant moments - from his fragile guitar lines in "Baby Lemonade", to the obscure poppy feel of "Gigolo Aunt". It's not always an easy listen: "Rats" and "Maisie" are obviously the product of a disturbed individual, and the brilliant silliness of "Effervescing Elephant" could only ever have been written by a guy they called the "Madcap". And "Dominoes" has to be one the most beautifully sad songs I have ever heard. A real highlight. 
This album is definitely not for everyone, but in my opinion it's a very interesting piece of work from one of rock's most talented yet tragic figures. Rest in peace, Syd.

No. 316: Neil Young with Crazy Horse - "Everybody Knows This Is Nowhere " (1969)

There are few things in this world better than the sound of Neil Young jamming out, and for me this is the best album to experience Neil really jamming out...
Augmented by crack three-piece backing band Crazy Horse, this was Neil's second solo album and the first of many recorded with "The Horse" over the next 40 years. The epics "Down By The River" and "Cowgirl In The Sand" see Neil trading guitar licks with Danny Whitten (Crazy Horse guitarist) and laying down some of his finest, most enduring tracks in the process. This is great rambling country rock - before it went right off the rails and became drenched in MOR cheese...
Crazy Horse have never been fancy: they simply lay down the bedrock for Neil to build upon, and it's this reliability that makes them the perfect band for Neil. Their backing vocals on the title track wouldn't have caused Crosby, Stills & Nash any sleepless nights - yet they are perfect for the mood & feel of the song, and lend a bit of welcome rawness to the proceedings. A great listen indeed.
And finally - after a lifetime of listening to countless guitar solos, I can safely say that Neil's one-note guitar solo in "Cinnamon Girl" would rank in my all time "Top 5 Guitar Solos Ever". Seriously - who else but Neil could pull this off with such seriousness and feeling?
It still gives me chills every time I hear it...