Sound Selections

The B-52s – The B-52s

The B-52s’ first album is a new wave party from start to finish. Opening with “Planet Claire,” a song that perfectly captures the feeling of campy sci-fi, you’re taken on a witty exploration of kitsch as you make your way through the next 35 minutes. This album FEELS like you’re working your way around a party at high speed. Side A culminates in the incomparable “Rock Lobster,” where the party has reached its peak and EVERYONE is buzzing. Side B starts off with the saucy “Lava” and ends with a cover of the Petula Clark hit “Downtown” which feels like the end of the night (or morning?) when everyone is coming down and you’re all sitting around, singing old favorites. 

I’ve been a fan of the B-52s for a while, especially their first couple of albums. Although for me, the B-52s nailed it right out of the gate and their first album is the one that really shows them at their weirdest. Sure, the big hits would come later, but for me, it’s hard to top the manic surf rock that is “Rock Lobster” or the thrift store Halloween chic that is “Planet Claire.” As of writing this they just recently concluded their farewell tour, which is sad because I couldn’t make it to see them. But at least I’ll always have this album.  

Laurie Anderson – Big Science

Big Science was Laurie Anderson’s breakthrough album and was probably the gateway for many into the world of experimental music. It’s a blend of cool synth and artful song structure that is almost danceable at times (O’ Superman was a club hit apparently) and lets the listener’s mind wander to find new points of view. Opening with a song “sung” by a pilot on a commercial airline, the listener is taken on a musical journey through Laurie’s slightly askew world where violins and vocoders create a soundscape that’s simply constructed yet sounds full bodied.

While Big Science wasn’t my personal entry into the world of avant garde music, it is my favorite experimental album. The minimalist approach (which is likely carried over from how she performs live) is an inspiration as she is able to cover a lot of sonic space with very little while creating a unique sound that is very palatable, which is NOT an easy thing to do. It’s a reminder that you don’t need 100 tracks and tons of instruments, but rather a few instruments and some unique ideas to really stand out from the crowd.

The Flaming Lips – Onboard the International Space Station Concert For Peace

The Flaming Lips have never been ones to embrace conventions. Their live(ish) album Onboard the International Space Station Concert For Peace (hereafter written as “Onboard…”) is no exception to this ethos. It’s a selection of tracks from their Oczy Mlody album reworked similar to how they are performed live, but framed in the context of a concert in space. For any other band this might sound silly, but for the Flaming Lips? Right on brand. In fact, I’d expect no less from Wayne and the boys. The sound of the album is out there, but in a stripped down kind of way. It’s studio produced, for sure, but the songs all take on a new vibrant life in these “live” versions. The illusion of this being a live show is well maintained throughout as well. The audience reactions are well curated and very authentic-sounding to the point you can practically identify at what point Wayne rides around on the unicorn throwing confetti at the crowd.

Having seen the Flaming Lips live, I feel I have something of a deeper appreciation for what this album is doing. It’s a pretty good analogue to an actual live recording and has a fun concept to boot. You get the psychedelic “jams” and the sense of fun of their live shows (You almost want to cheer along with the “audience” when Wayne breaks into the vocoder solo!), but without having to think of the poor venue cleaning crew that will have to sweep up the (possibly literal) ton of confetti afterwards. With Onboard…, the Lips managed to capture the delight of their live shows and beam it all the way from space to your stereo. 

The Costello Show – King of America

Over his career, Elvis Costello has released 32 albums ranging in style, making it hard to pick one to feature first for TRML’s Sound Selections. Ultimately, after some deep soul searching, I went with King of America. Elvis’ 1986 outing is a country album distilled through the eyes of a kid from England (with the help of the legendary T Bone Burnett). It’s an album that ranges from folk to rock and uses the country “twang” like bit of spice, flavoring the songs here and there to give them a bit of added character. Some songs are “spicier” than others (Glitter Gulch, anyone), but no matter how flavorful the songs get, it always sounds like an Elvis Costello album and never Elvis Costello emulating others. Even the Nina Simone cover, Don’t Let Me Be Misunderstood,” is made his own and doesn’t sound like a simple cover. It’s an album that shows Elvis’ range as a songwriter and a musician and is a shining example of his artistic capabilities.

King of America is by far my favorite Elvis Costello album. He has many great albums, some of which are probably more accessible and a better introduction to his music than King of America, but for me this album is where it’s at. Besides the interesting country infusion, the songs are all very well written, with some of the best wordplay you’ll ever hear. My personal favorite track is “Indoor Fireworks,” which deliciously alludes to the various parts of a fireworks display to describe a struggling relationship. The wordplay in that song is a masterclass in molding one concept around the skeleton of another to create a whole piece. Really this whole album can be seen as a masterclass in songwriting. Elvis has always had a knack for writing interesting lyrics that, when heard, you know are his. This album is an excellent example of that skill and well worth a listen.

The Faint – Danse Macabre

The Faint’s third outing, Danse Macabre, came out at a time when it seemed like the Saddle Creek record label could do no wrong; where everything it released was gold. This album, possibly The Faint’s best known album, has an interesting dichotomy between the sound of the songs versus the lyrical content. As the album title implies, the songs are largely dancey, with lots of driving beats and synth breaks throughout. However, these songs are DARK and not your typical dance floor fodder. Right off the bat, the album opens with Agenda Suicide, a song about people working themselves to death to maintain a certain lifestyle. Blaring synths, beats that could get any crowd jumping, and possibly the best whispered screaming recorded, all set the tone for the next eight tracks. It’s dire, but not to make you depressed or offer console because your mom took your Switch away. No. Instead you’ll find yourself thinking about society, how we are treated, and how others different from us are treated. It’s not “my life sucks,” but rather “life sucks and we all need to understand each other to survive.”

I find this album wanders onto my turntable more than any other by The Faint. Their other albums are also excellent in their own ways, but Danse Macabre, for me, is a solid dark wave album that is both easily digestible sonically, but gives you something to chew on lyrically. It’s not an album one can just “throw on” and have in the background – at least not for me. When I decide I’m going to listen to this album, I’m looking for something that’ll rock but also really engage the ol’ noggin and make me think. And while there are a lot of albums that match that criteria, this one is one of my favorites and I’d reckon it’ll be one of yours too when you hear it.  

Jonathan Coulton – Artificial Heart

Artificial Heart was Jonathan Coulton’s first official studio album. Previously he had released his “Thing-A-Week” compilation and a live album, but this was his first LP written as a cohesive entity. Produced by John Flansburgh of They Might Be Giants, Artificial Heart maintains some of the humor Jonathan was known for in his previous works, but shows a definite maturity in his songwriting. Sure, you have the humor of “The Stache” and “Je Suis Rick Springfield”, but you also have songs like the darkly beautiful “Now I’m an Arsonist” and the regretful word of warning that is “Today With Your Wife” to balance out the tone. I’d even go as far as to say the “silly” songs that appear humorous on the surface hide a knot of complex emotions underneath.

I have listened to this album so many times I practically have it memorized. It’s one of those albums that really shaped my early foray into writing music. I’d sit there and pick it apart to try and figure out the secret sauce of WHY it’s so good. There are a lot of little things that one can attribute to its success, but ultimately I feel it’s so good because it’s RELATABLE. I believe that everyone can find a little something of their own experiences in these 18 songs. Whether it’s grappling with adulthood, navigating the grind of the 9-5, or hoping to be noticed, everyone has a little Artificial Heart in them. Even murderous computers…  

Beck – One Foot in the Grave

Recorded before his mainstream breakout Mellow Gold but released AFTER, One Foot in the Grave is, to me, peak anti-folk Beck. It’s far less experimental than Stereopathetic Soulmanure and is a bit more “down-to-earth” and folksy than Mellow Gold. It feels like it’s Beck and his friends sitting around in a basement studio having fun recording takes. It doesn’t include many (if ANY) overdubs and is clearly an example of  “this is the best take, move on” style of production, which I feel this gives the album its charm. 

This is by far my favorite Beck album, which is saying something since I am quite the Beck fan. To me this album shows that perfection isn’t required when your heart is in it and you’re HAVING FUN. It’s made even better in the expanded edition Beck released on his own label a few years ago. It includes 16 MORE tracks (including an early version of “It’s All in Your Mind” and a studio version of the foot-stompin’ “One Foot in the Grave.” It further exemplifies that Beck was quickly evolving at this time and wore his influences on his sleeve as he grew into the icon he is today.

Lou Reed – New Sensations

Lou’s 1984 outing is deceptively peppy. Sure, it has that 80s sheen, but once you unwrap the shiny plastic it’s everything we’d expect from Lou: thoughtfully gritty lyrics and killer guitar work. It feels like it is just commercial enough to sell (and sell it did, being one of his best selling albums to date) but Lou doesn’t compromise his artistic integrity for the numbers. The sound of this album has an arena rock feel and could stand up with peers like the Boss or Mellencamp, but has an intimacy that brings it right back to the living room. You have your big drums and chorus of backup singers, but you also have Lou’s delicate guitar work bringing the sound in close and tying everything together.

It’s absolutely no secret that I’m a huge Lou Reed fan. It was difficult for me to pick which album of his I’d feature first. I went with New Sensations because it would be one that’s least expected and possibly new territory for some. Hell, pretty much anything between Street Hassle and New York could qualify. Lou’s 80s output is often overshadowed by everything that came before and after. It’s not the experimental or glam of the seventies, and it’s not the bluesy grit of New York onward. It’s just Lou being Lou in a neon soundscape, adding that bit of that grimy character that a lot of the mainstream music of the 80s seemed to lack.

The Claypool Lennon Delirium – South of Reality

I feel South of Reality is one of those albums that few people know exist. I’m not sure WHY I feel that, but I do. It might not be true (probably isn’t), but I never hear anybody mention this band when talking about either frontman’s work. It was released to (what felt like) limited fanfare in 2019 but it’s an album that any jam/psych/prog fan should hear. The second outing from their collaboration, Les Claypool and Sean Lennon bring a deep dive into a mind-bending world where both songwriters take turns guiding you through nine tracks that are both sonically twisted and surprisingly grounded at the same time. All of the songs are rockers, for sure, with Sean’s powerful solos slicing and dicing over Wes’s signature bass stylings. Mix in smooth-yet-driving drums and some well-placed keyboards, and you have the recipe for a truly solid psychedelic romp.

I first heard of The Claypool Lennon Delirium when I saw the Flaming Lips were coming to town and TCLD was opening. Before the show I binged their albums and was totally digging it all. When it came time to see them live, I found they really like to jam, which is awesome, and Sean and Wes have a great rapport that often had the audience in stitches. It was a great set (full of South of Reality numbers, as well as one Primus jam and one John Lennon cover/jam) and solidified me as a fan. True story: after their set, while the Lips were setting up, TCLD’s keyboardist came down to the backstage gate (it was at a small outdoor amphitheater) and did a casual meet and greet. I shook his hand and complimented him on his choice of hat… I felt it was the right thing to say. 

Paul Simon – Paul Simon

Paul Simon’s second solo outing (and his first post-Garfunkel) is one of the most solid folk albums ever. Yes, it’s largely acoustic, but it’s not completely acoustic AND varies folk styles to make it so much more than just a dude and a guitar. And the songwriting… Talk about a masterclass in song structure and storytelling. I mean, Simon WAS a songwriting teacher at NYU in the early 70s, so I’d say he knows a BIT about good songwriting. This album contains a few of his greatest hits that are still on radio rotation to this day: “Mother and Child Reunion” opens side one with a world feel that’s rounded out with an americana sound. Side two opens with the supremely catchy “Me and Julio Down By the Schoolyard,” which besides being an extremely FUN song, is a killer guitar jam. Beyond the radio hits, you’ll find gems like “Duncan,” which is a quieter number (yes, dude with guitar) that really flexes Paul’s songwriting chops. I also recommend “Paranoia Blues,” which (as the name implies) is a bluesy number that’ll really have you tapping your toes.

This album is definitely my go-to album for when I have a hankering for some Paul Simon tunes. “Me and Julio…” is one of my favorite songs of all time and is definitely one of my top picks for an acoustic guitar jam song (Bowie’s “Andy Warhol” being another). It’s also a good album for me to throw on when I just want SOMETHING playing and can’t really decide what. It’s like an old pair of jeans: well worn but it fits PERFECTLY.