Speaker 1now here's an odd an unusual one in a sense because you're only going to get really short answers here but um pavel luchik and i've pronounced that probably incorrectly probably but he's probably used to it i'm gonna say brian brian you know he's another fan of the show let's say um and this would be a great brian you know question he says number one what's your favorite deep purple record oh um well um
Speaker 2that's a good question obviously a lot of people would say made in japan i actually really like there's an in concert record with two bbc concerts on one from 1970 and one from 1972 that is my favorite deep purple record but i love fireball as a studio record fireball is the one for me which again is the one between the ones that people usually pick usually they pick in rock or machine head fireball is good fireball for me it's a little bit more experimental i like for i like it for that reason i'm going to go for
Speaker 1the controversial deep purple by deep purple 1969 where they're doing donovan covers yes so on because i i really like that early deep purple actually where it's a kind of psychedelic rock band with also a feeling for the singer-songwriter music of the period and there's a sense of discovery about those early deep purple records that i like and i still think they have it in the early ian gillan years as well they've still got that quality but it's more established and gillan just a great rock singer whereas rod evans is more of a sort of pop singer
Speaker 2in a sense yeah i'm not i'm not that fond of those albums but anyway fireball for me is fireball is the funkiest at least of the gillan lineup it's the funkiest deep and even burns all right actually the coverdell there's some great records there's some great records after gillan left yeah but absolutely so that would be my
Speaker 1my favorite okay and then he also asks brian you know this is yeah um who are your favorite
Speaker 2drummers oh gosh my favorite drummers um i don't know uh you answer that question first tim what i think about the best
Speaker 1drummers i've ever seen john christensen brian blade he was stunning um and manu cacce what's his name manu cacce brian blade and manu cacce stunning drummer to to see yes yeah yeah um in terms of favorite drummers for sort of you know sheer um sound that is quite difficult because you know i do like the classic ringo keith moon bonham trilogy they're there for a reason they had really interesting approach to sound and playing that was essential to the greatness of the band's music that they were in um and i'm still a huge fan of that massive bonham sound from the early 70s you know in listening to cashmere in the mid 70s and what have you but generally speaking i suppose there are a lot of jazz drummers like you know brian blade john christensen who have this incredible flair and also i've got to say a big shout out somebody who we've worked with um steve jansen he's not the best drummer technically but what an original drummer he
Speaker 2can't have good technically well
Speaker 1he's very precise isn't he yeah what an incredibly original approach to space sound rhythm so you know jansen's got to be one of my favorites of all time i mean i think
Speaker 2between the two of us we've been very lucky to work with i mean gavin harrison you know is the best probably the best musician i've ever he's done yeah been been in a band with you know i mean he's just an extraordinary player um chris mayland i thought was chris is brilliant craig blundell brilliant marco minimum incredible i've been very lucky to work with some amazing chad whackerman i had my favorite drummer when i saw you play live because he was so musical and sensitive what player there i've been very fortunate to work with with great drummers yeah but gavin i think is uh there's something about gavin that's just uh on another level i think to to a lot i mean some amazing players but gavin's just on another level i think well i've been
Speaker 1playing recently with um andy edwards he used to be robert plant's drummer he's also like you and he is amazing i mean very sensitive he reminds me out of all the drummers we've worked with he's closest to chris mayland in that he's got a lot of feel right what he does that maybe chris didn't even do is he can go massive but just go absolute whispers he's a whisper to a scream very sensitive really interesting and he's a close friend of craig who's your craig is extremely he rates very highly as well he's my
Speaker 2current drummer as well shout out also to to lee harris from talk talk oh yeah i mean just that that whole kind of channeling it kind of almost minimalist well it's almost that gets us back to jackie leipzig well it's also it's a bit of crowd rock but it's also a bit of jazz sensibility isn't it and it's kind of all very i mean just his playing on an album like color of spring where they're still essentially a pop group um i absolutely adore the sound and the approach on that record yeah there's some great drummers that came out of the of the post-punk era as well of course you know um you know we don't need to go through them all but but some phenomenal drummers that kind of reinvented the language of of you know drumming as
Speaker 1a pop drummer stewart copeland i
Speaker 2think yes absolutely you know stewart copeland absolutely yes a great example great example another question is how do you
Speaker 1question tim okay so somebody a few people kind of saying is there any such thing as a perfect album you know in other words is there any album where you wouldn't question a single track oh well the aforementioned dark side of the moon it's perfect i mean they mention hands of love for
Speaker 2themselves which again i think is a great see i wouldn't i i love the record i love the record but i i think there's a couple of tracks on it that for me are filler watching me watching you is it watching me watching me without
Speaker 1you um you're talking about the jethro tull watching me watching you or the itv program i was actually thinking of the thompson i was actually thinking
Speaker 2the thompson to win the single with grace jones uh watching me no uh watching me without you i don't think it's that it's not amazing uh the jig of life i could quite happily never hear that again gig of life i'm with you so i you know i don't think it's a
Speaker 1perfect record i'll go into one question somebody asked about whether either of us read music no i don't read music all right no i don't know same obviously same here i mean for me i don't even know the vast majority of chords that i play i have to put them in the chord finder me
Speaker 2neither to find out i usually show them to somebody in my band and say i literally go up and say i played that chord and then adam or nico or something say oh you're playing a g sustained fourth with a flattened second you know or whatever um no i don't i mean i approach music like an idiot you know like a lot of the people that we like to be fair absolutely no absolutely yeah the kind of non musician sort of approach to making music but but whereas you but in a in a sort of context where you're not a musician you're a musician you're not a musician you're not a musician you're not a musician you're not a musician you're not a musician you're not a musician you're not a musician you know you can bring them in to kind of help you you know realize what it is you're trying to realize but you yourself kind of remain this kind of musically illiterate idiot at the center of the process but in theory the one that's having the ideas and the one that's kind of going but i think
Speaker 1the musically illiterate idiot which again i put myself into that category i would put you in that category thank you um a bit like you know brian eno musically illiterate idiot yeah completely love that description as well as the inventor of music yeah but i think it's a it's a it's a i think that having the overview of the music having an overview of what the sound is what the direction is is as important and so you know i completely forget what i write so if i'm writing with very few exceptions you know if it's a if it's a basic four to six chord acoustic strummer where i i know what i've done the vast majority of pieces i don't know what i've done i just give it to somebody else and they've got to learn it after i've forgotten
Speaker 2it yeah but you really take it to an extreme to him because not only do you not know how to play you don't know how to play don't know how to record music either of course i do i speak as someone that's had to mix seven albums for tim now and no i'm joking no the vocals are well recorded i'm joking it was a bit of banter bit of bit of banter um no but actually no but there is a serious point to that which is that you don't have a conventional approach to make to recording music you don't you don't necessarily try and get the best tones you want to get the idea down quickly and i like that i you know i like that sort of more kind of diy aesthetic outsider aesthetic too um i'm more about getting things to sound lush and lavish but the one thing i don't know anything about is the notes the chords the music i just don't know that stuff well i was always very
Speaker 1influenced by um i mean a few artists did it but i remember in the 90s the king of it was mitchell froom where he would take really cheap recordings that may be done on sort of tascam yeah yeah and then take it into a beautiful la holger chukai with his
Speaker 2holger chukai with his little sampler which was addictive so he used to record he used to record like i don't know some you know scandinavian folk song sung by some sheep herder on a mountain in in finland and he recorded on his little dictaphone and then he'd hold it up to the microphone and literally be pressing play and it had this very scratchy kind of lo-fi aesthetic to it didn't i i love that i love
Speaker 1that same here so it's like for me you know whereas i have tried to record the vocals and so the keyboards to a high level deliberately with guitars i don't know i don't know how to do that i don't know how to do that i've chosen the worst guitar i've got in the
Speaker 2house you've achieved you've achieved i've
Speaker 1recorded it through the computer microphone rather than a proper microphone and then degraded the sound from that point so i really like that combination of quite lush beautiful sounds with really degraded shitty you've you've determined
Speaker 2sonic detritus if your goal was to make the worst guitar sounds ever made you have achieved no i'm joking thank you very much no obviously we kind of share that that lo-fi yeah my favorite plug-in uh at the moment is this plug-in which makes everything it's called make it shit make it shit yeah well it might as well be it's a plug-in that basically emulates all of the old audio artifacts you get from old damaged cassettes i love that hiss saturation dropouts wow flutter it's
Speaker 1brilliant i love those cassettes sound i agree um keith jade door asked a question which is you know sort of related things we've discussed but i think it's an interesting one really and he says are there any favorite albums you find that are greater or less than the sum of its parts oh i'm not quite sure what you mean by that what i think he's meaning keith jade door or andrew eldridge as i think it is under pseudonym obviously as he's a
Speaker 2listener yeah is
Speaker 1other albums that are actually better as a whole you're listening to as a whole and it's a great album but if you actually were to dive deep it's actually quite weak composition it's quite weak maybe even sonically it's quite weak but for some reason it represents more as a whole gotcha than it does okay
Speaker 2so i'm going to be controversial here i i would say the poster child for this for this concept is sergeant pepper yeah no i think you're right i don't think there's really more than a handful you know again this is controversial i'm sure the beatles fanatics out there of which there are so many these days the beatles has almost become a religion it seems to me now there are a handful of songs on that record that are brilliant day in the life incredible incredible song i know you're a big fan of she's leaving home yeah yeah the rest of them honestly the rest of the songs on that record are i would say second tier beatles songs but when you listen to the whole it somehow seems to have more weight than the original and of course it's considered one of the greatest albums ever made and i kind of understand why but actually i don't think the individual songs are really on the whole are really top tier top tier beatles songs there are much better songs on the white album on revolver blah blah blah abbey road well also the from
Speaker 1the same sessions you know penny lane and strawberry field amazing songs you know amazing possibly the best double a side of all time yeah absolutely um i think you're right you know i think the album is more than some of its parts the it's the combination of the artwork and the ebb and flow of the album and also the timing
Speaker 2works the timing it caught the summer of love perfectly and the people had grown up with the beatles literally grown up well not literally obviously but they'd grown up with the beatles and followed them through the sort of you know the early years of the more kind of guitar jangly pop and suddenly to create a piece of music like a day in the life i mean that must have been
Speaker 1psychologically it's such an impact because i say the only time i've ever recorded in abbey road you're conscious because abbey road really does in a way rely on its reputation and they have all of the old keyboards and microphones and you're in that room where lennon and mccartney recorded their greatest work and you're playing on that piano that actually created that final chord on a day in the life yeah and weirdly i mean i'm not normally a sort of sucker for nostalgia or a sucker for any reputation but i was kind of sucked into that because i know this stuff so deeply that it was just that's the piano right that that called i had that when
Speaker 2i went to polar studios in stockholm and they had benny's original piano that he'd played the the dancing queen didding didding didding did apparently that's what they told me
Speaker 1you know the one that was mimicked on oliver's army to extinct yes yeah that lines the really memorable line so that that to
Speaker 2me and i know what you mean is when you feel like you're touching a piece of history or an instrument that was used in something that is so ubiquitous in pop culture yeah you can't help i mean for me when i go down to abbey road it's it's the kind of floyd thing you know yeah this is and radiohead as well yeah this is where they recorded piper at a gaze of dawn you know studio two abbey road you know wow so those things yeah i mean people like us that are nerdy about the history of students of the history of popular music but i also find myself sometimes thinking there's too much nostalgia for i mean i know this podcast is all about that so i'm being a bit of a hypocrite here there's too much nostalgia and awe sometimes for the past in terms of music and i wonder if that's one of the reasons why rock music has allowed itself to become so obsolete in the 21st century it stopped looking forward and it spent too much time looking back but that was kind of happening in the you know
Speaker 1the cd age ushered that into an extent in the late 80s where suddenly classical classics were living alongside yeah but you still had yeah but
Speaker 2you still had artists oh yeah portishead coming out but that was the one era where suddenly
Speaker 1the old artists had come back with a vengeance plus a lot of old catalogues being resold remastered and the internet made
Speaker 2it all available to to everyone and the magazines you know you
Speaker 1look at the magazine suddenly from the cutting edge of new musical express melody maker and so on you had the mojos the cues especially you know the mojos and uncuts who in effect it was pure nostalgia um so anyway this person also asked the question conversely is an album packed with monster tracks that he just isn't very good oh i
Speaker 2think that is a good question it's a good question but it's kind of an oxymoron isn't it if it's packed with great
Speaker 1tracks how can it not be i think they're entirely right i think there can be tracks where you know you've got brilliant name queen might be a great example although the greatest hits maybe well but that's the whole point
Speaker 2about queen queen always had tracks yeah and then a lot of filler oh okay well if you're talking about albums where there's a mate there's amazing highs but there's a lot of low there's lows too yeah there's lots of records like that
Speaker 1very well structured that you know okay you know fantastic so every track is great in its in itself yeah you can't quite put it or listen to it as an album as a whole because you know yeah because actually obviously great six collections work on that basis of every track has impact but does it necessarily work as a
Speaker 2collection well that's interesting so i one album pops into my mind it's not exactly fitting the bill here but i remember when i was following the early years of of ztt and buying all those early frankie singles relax two tribes when the album came out and it had this incredible first side welcome to the pleasure dome the title track 15 minute track and then side two had the three big singles that and it felt strangely anticlimactic i agree because and i think the reason was that most of the singles have been reworked into these incredible extended 12-inch mixes and suddenly you're presented with just the the regular sort of radio seven-inch eddies i don't want to listen to that i want to listen to you know i want to these ambitious 12-inch mixes it suddenly seemed constrained didn't it it felt a bit tame yeah yeah so i remember feeling like this was that i mean those three songs on side two you know relax war two tribes they're brilliant they're some of the greatest pop singles of of the era and yet as a side of music it felt incredibly unsatisfying this comes
Speaker 1through to another question that somebody asks around you know are there and they think there aren't but i think they're wrong in one way they say that there are no great double albums um can you think of one but they're also saying wouldn't a lot of these albums and they're talking about the war the lammas down quadrophedia quadrophenia um in the cd age would they have been 60 minutes long and actually no i don't i think you know the cd age if anything ushered in more filler more i've got 80 minutes i'm gonna use it you know there are so many albums that could have been great that are just too long by 10 20 30 minutes right because of the cd age but in terms of classic double albums are there any that are great statements
Speaker 2i think i think it depends on the style of music and the reason i say that is that yes there is a somebody and you like the individual songs if they are essentially a song orientated artist with a sound it's hard to concentrate for more than 40 45 minutes yeah i agree whereas bitches brew tangerine dream zeit which are by definition more abstract more runny you might say they're ambient they're just it's just music which allows you to sort of you know float away with them and you're not constantly being pulled in by by great hooks or lyrics or that songwriter sensibility i think those are double albums i wouldn't change a thing and that actually i
Speaker 1think spills into the cd age in the sense that whereas 18 minutes to me killed the discipline of the classic pop and rock album and ushered in something that was quite dangerous artistically the art forms that worked with the cd age were ambient electronica as you said so you know albums that did sprawl but just had one mood one atmosphere that was investigated in a certain way so cd actually was very good for certain types of music but not necessarily the classic album years music so again the albums you mentioned they would have been great cd age albums as well yeah because you know as a continuous flow of 18 minutes yes yeah
Speaker 2yeah and of course the irony is that a lot of those artists suddenly started doing three four five cd sets you know whereas five six hours of ambient texture rather than like
Speaker 180 minutes edgar get
Speaker 2back yeah yeah but yes i mean i love i love something i know what they're getting at i can't imagine an album like jeff wayne's war of the worlds being anything less than a double because he had to tell the story and i love that record so i guess what i understand what they mean by that there is a sense that i think if you're essentially a song orientated artist 45 minutes and we've discussed this on the podcast before 40 45 minutes sometimes 35 minutes yeah seems but we love topographic oceans don't we as well tell us even though it is i'm not going to say it's it's objectively speaking it's probably not as good as close to the edge it's more fragile but actually i'll find myself listening to it more but but yes it Because it's unexpected.
Speaker 1I think the thing with that is, again, that's kind of flowing, it's indulgent, and it sort of suits that sprawling format in a way.
Speaker 2And they let the ideas play on a bit longer than they would normally on some of the other records, which I personally quite enjoyed.
Speaker 1But I know what the person's saying, because obviously I'd agree, something like The Wall, for me, side three is its peak and it's great up to that point, and side four is something of an afterthought almost. There are great moments, but it just doesn't work in that way. The Lamelos Down is similar for me in that I think that, again, side three is the peak. It's been a great album up to that point. It almost seems like the fourth side, we've got to fill this, we've got to complete this.
Speaker 2There's plenty of times where I can.
Speaker 1Quadrophenia less, so to speak.
Speaker 2Yeah, I would say Quadrophenia is pretty much perfect, and Tommy actually as well. I think those are great. There's plenty of examples I could give that would certainly support the theory, don't get me wrong, you know, that I think the album should and could have been Welcome to the Pleasure Dome, again, the Frankie album. It's almost like somebody said, we're going to make a double album before they figured out if they actually had the music to put on it, you know. Let's have one more question, Tim, before we wrap up. What's another classic question?
Speaker 1Oh, God, there's so many. Oh, is there?
Speaker 2Well, we've been going for an hour and ten minutes already. All right, I mean, quick one.
Speaker 1God. I'll give you a quick. Let's go through a sort of quick one. Go on then, quick fire, quick fire round. Album that got you through your first heartbreak. No idea. I'm going to go for Kate Bush Lionheart, because when I was sort of in my early teens, that was one of those albums that I'd regularly sort of retreat to my bedroom and listen. What about The Ham, over? That was a different type of heartbreak.
Speaker 2That's an emotional heartbreak. Good breakup album, though, isn't it? It's brilliant, yeah. Can't say I've ever relied on it myself, but yeah.
Speaker 1No, that was one album, you know, almost for comfort, because these things, however melancholy they are, weirdly, they're quite comforting in times of distress.
Speaker 2Yes, because you understand that it's a shared experience, shared human experience. Exactly. Yeah, yeah.
Speaker 1All Media Reviews. Nice name, actually. I mean, I'm impressed with the parents on that one. OK. Will the album years include live albums in the lists? Have we not done any live albums? I think we've discussed the ubiquitous nature of.
Speaker 2Well, Laurie Anderson's United States, we did. That's live. That's recorded live, at least. Yeah. United States of America.
Speaker 1And also, you know, certainly joined the sort of mid to late. 70s. It was real currency. Have we not talked about things like.
Speaker 2Maybe we haven't done the right years yet. Maybe we just haven't. The years haven't fallen. No, we're not. Made in Japan. No, we've got no problem with that.
Speaker 1And then, you know, will it feature more years from the 21st century? Yes, sir. Will the album years feature more years from the 1960s or earlier?
Speaker 2We've had those. Possibly. We've had those. Come on. More original questions.
Speaker 1There wasn't one. Tony Kinson. OK. It's an interesting one. I don't know whether we'd be able to answer this, though. Time to step in. Decide the album year's time machine. If you or Stephen could appear on any album from history, playing, singing, producing, what album would you choose?
Speaker 2Oh, the most fun I ever thought being in a band would be was when I saw LCD Sound System. I've seen them a couple of times live, and I just thought that would be the most fun band to be in. Yeah. OK. LCD Sound System. I don't know what it'd be like in the studio, but definitely in terms of a live band, they sound like they're having a party on stage. That was a lot of fun.
Speaker 1Yeah. I don't think I can talk about it, but there are many, you know, I don't know whether you do this, but when I go to gigs and when I listen to albums, and obviously there are exceptions to this, but quite often you kind of listen to them thinking, OK, what would I do with this? How would I organise it? What would I do in terms of sort of sequencing or sound? And you've always got ideas, and live especially I have that when I'm thinking. Well, that's what I'm talking about.
Speaker 2Like, maybe I've missed, I've misunderstood the question, because I was thinking, what band would it be most fun to be in? You could appear on any album. I'll appear on any album, yeah. I've perverted the question, haven't I? You just didn't even listen. I've perverted the course of justice, yeah. It was the course of justice. What album would I want to be in? Wow, I don't, gosh. I mean, I just can't help thinking in terms of what would have been fun, you know, but you're talking about, you're coming at it more from a sort of academic point of view. Which album do I feel I could have influenced in a way? God, I don't know. I mean, wow. It's a bit presumptuous, isn't it?
Speaker 1It is, isn't it? It's a bit presumptuous. And another double I never thought was quite as good, and I love the band, but I never thought it was quite as good as people said, Jordan The Comeback, because I adore Prefab Sprout.
Speaker 2Yeah, but that wasn't a double, Tim. This is the era you've made. It was a single CD and a single LP, even though it's more than 60 minutes. You're right, I think 17 tracks or something, is it? Yeah. It was all crammed onto a single LP. And I love it, but I just think, I want two albums out of it. I think it's the weakest of that run. Yeah, no, I totally agree,
Speaker 1but it's one of those. A janky one. What's the best album of 1982 and why is it Sulk? All right, so I'm going to end on one, because you're right. There are so many questions, and there are so many excellent questions, and I thank each and every one of you. Yes, thank you. Brian Eno, Stevie Nicks. Johnny Marr. Johnny Marr. Morrissey. Yeah, The Ghost of Miles Davis. You have all been stars. Yeah, yeah. And I don't mean that. Max Bygraves. Yeah, Noddy Holder. Is this a question from Noddy Holder? Yeah, Noddy Holder. Yeah. So this last one, from Noddy Holder. Okay. It is. Who's it actually from? Do you know what? I'm remembering it from Facebook. I can't find the question.
Speaker 2So it is from Noddy Holder.
Speaker 1Not only remembering it, I'm misremembering it from Facebook. Or it could be Dave Hill. It could be Dave Hill. Dave Hill, Noddy Holder. They're asking this question that I've completely forgotten, and I'm reinventing it in my own language. Okay, okay. And what they were, in essence, saying is that anything where you think, my God, why doesn't the world understand this, yet we do? You know, this particular album, that's a great piece of work, but everyone thinks it really belongs with, you know, the little blue block in your toilet bowl. Oh, loads of albums like that. Now, there are, but I've got one. Consequences, yeah. Yeah, but you see, this is it. Go on, then. So I did it. I've got a list on this. Consequences was part of it, but Consequences, It's Immaterial Songs, another one for me. King Crimson's a little bit. Lizard. Pink Floyd's the final cut. Can never understand why people don't know. No, ditto. But the thing is, with all those albums, there are lots of apologists now, topographic oceans even. There are as many people who will say, I concur with Mr. Stephen Wilson's view. It's true. And with Lizard, I remember when I first talked to Lizard with you, we were the only people on the planet, seemingly.
Speaker 2And Consequences now has its own podcast dedicated to that one album. Yeah, and Consequences has got its own podcast.
Speaker 1Yeah, so you're right.
Speaker 2Yes, yeah. Is there an album?
Speaker 1And there is. We discussed it on the album, yes. And I can't, you know, I look, and I judge. When I see books on this man's work, I'll always go to this album. And without fail, they say, Pompous, directionless, an artist at their nadir. Okay, give it to me. How dare he produce this bloated piece of awful. Give it to me. So this is one for me. Van Morrison Common One. Oh my God, it's a masterpiece. And we, you know, you say it, I say it, and I've heard it going, immature. What? You're rambling. No. No, I'm not having that. And it's like, I'm hearing it, I'm thinking this is one of the best albums. He's done, this is with Veeden Fleece, Astral Weeks. It's up there with Spirit of Eden for me. It's better than the 80s albums that are good. It's better than Spirit of Eden, even.
Speaker 2I like. It's definitely up there.
Speaker 1I like the Van Morrison 80s output. I do too. But this is the best.
Speaker 2It's the, well, absolutely. Didn't we talk about that one in the very first podcast?
Speaker 1The very first podcast. But I can't find it. I go into Waterstones, and I rip out pages. I rip out pages. I rip out pages. I rip out pages from the books.
Speaker 2I'm so angry. Right. That, yeah, I'm not having that. That album is an absolute masterpiece.
Speaker 1You know, pompous waffle that is an insult to the names it mentions, like T.S. Eliot.
Speaker 2Right. No, that is nonsense. Well, if that is true, if it's still considered to be a dud, then yeah, I could not disagree more with that.
Speaker 1And then coming directly off that, somebody says, I believe it's Laurie Anderson has asked this question. Okay. Not Keith Jarrett. I was about to say, he's still alive. It's Keith Tippett who's died, not Keith Jarrett. He's still alive.
Speaker 2Yeah, I should be laughing about that.
Speaker 1It's not Keith. No laughing matter. Not Keith Jarrett. It's Laurie Anderson. Yeah. And says, what is the worst album that's regarded as part of the canon?
Speaker 2Oh, God, there are so many. And, you know, I'm not saying these are bad albums, and I like some of them, but if you're just talking about pure overrated albums, straight away off the top of my head, Blonde on Blonde. Oh, interesting. Yeah. The Stone, the Stone Roses.
Speaker 1Well, I could go on. See, Blonde on Blonde, I agree. I don't think it's a particularly great album, but it's got some great tracks.
Speaker 2Yeah. It's a double, though, interestingly enough, isn't it?
Speaker 1Interesting, yeah, a double. But again, I'd say as a double, it could have been pruned, because it has got some fantastic material that, for me, shows the progression of the electric Dylan. But you've mentioned the one that, for me, again, if I've got one that is the most underrated, it's a common one, because nobody seems to have a nice word about it. For me, the Stone Roses. I could never, understand this, I think I cruelly said that it wasn't even the best album in the week it was released. It was about the 20th best album. Yeah. And I do, I love Fool's Gold by the Stone Roses, so I'm not against the band. And in fact, I even think Ian Brand's done some great solo stuff. Fear was a fantastic single. So I do think there's a lot of talent in the band, and I think they've made some great singles. And that Fool's Gold EP, I thought was fantastic. But that particular album, I never could understand that. its appeal and still can't. And I've tried, you know, a bit. like as people will hear on 1977 pacific ocean blue by dennis wilson oh you've
Speaker 2you've given it away now tim i've tried oh yeah no i yeah well the sacred cows but i mean the difference there between that album you've just mentioned it wasn't a commercial success we're talking about albums here that continue to sell be reissued year after year after year and yeah i you know there are many more never mind the bollocks yeah never mind yeah is that really right as i suppose it is it does it
Speaker 1does i mean i think it's a great album in terms of its artwork as i've said before i think that it ushers in a generation and a certain attitude but you know for me and we've both said this you know lyden gets interesting when he forms public image and they are a wonderful band yeah the clash get interesting on london's calling or london town yeah
Speaker 2as i sometimes call it that was a shocker tim yeah i was a shocker i mean i think basically the similarity pretty much every album that's ever been selected by uh pitchfork or enemy over the years as the album of the year probably would fall into the category for me with one or two yeah
Speaker 1apart from associate salt which was the melody makers album of the year yeah i
Speaker 2guess and dayless souls three feet high and rising unexpected very unfair that very unfair what i've just said delete that but yeah so those i mean those ones are exile on main street and i've tried god knows i've tried because i'm constantly being told that they are the greatest albums quote-unquote the greatest album ever made yeah
Speaker 1stone
Speaker 2roses yes and i think
Speaker 1this is it you know basically i will spend more time listening to albums like that trying to understand them than i will to pink moon which i know to be something that i adore and will always here's another
Speaker 2album that i get fed up with people telling me is the absolute nadir of their catalog is the absolute nadir of their catalog yeah and pretty much worthless presence led zeppelin yeah very much worthless presence led zeppelin yeah very much very good album my favorite led zeppelin record i can't find anyone else that agrees with me apart from you maybe no i like it i think i i mean achilles last stand is
Speaker 1up there in my top three nobody's fault but mine yeah that's great one tremendous also very distinct sound the album's fun it's the funkiest they ever got yeah it's got quite a tough sound i think as well yeah no i i prefer it to physical graffiti you know cashmere i think is a work of genius trampled underfoot there's amazing stuff on the album but as an album well there's another there's another double that probably should have been yeah there's another good example of a double album that probably shouldn't have been yeah presence doesn't outstay its welcome no it's got a sound it's got an attitude i guess that you know with that album it was just it was released at the time it was when there was a certain changing of the guard yeah critically because it's but that's
Speaker 2but that but that's why i i that's why i'm surprised that it hasn't been more embraced and re-evaluated subsequently like a lot of these other albums that you're talking about have been a lot of albums that didn't get that well reviewed at the time have been you know subsequently reappraised and now are considered part of the canon of great albums but that is one love them one or people love them yeah you know the top graph the topographic ocean well
Speaker 1it's a material song you know that's now my bought in 1990 it got universally bad reviews and small bad reviews as well and i thought it was an incredibly heartfelt album that meant a lot to me over the years i've met dozens of people who think that and when it's been re-released i've met dozens of people who think that and when it's been re-issued it's the forgotten classic right forgetting that at the time it was pretty much ignored didn't sell and actually got right mediocre reviews but as i said common one is that album where i i cannot in print find a single person yeah who talks about summertime in england oh in an enthusiastic way i mean you know so for me he's taking on board aspects of so miles davis he's taking on board aspects of so miles davis hypnotic singer-songwriter whirlwind of van morrison is best
Speaker 2yeah i stand by my my statement that spirit of eden wouldn't exist without when when heart is open off there yeah yeah what a track um and you could say in a silent way too yeah of course is a precedent for that too but yeah um okay so yeah absolutely come on i'm totally with you presence led zeppelin for me is one of those albums that i can't find anyone else that will admit to me that they love it too and uh yeah all right and on that bombshell i think we will call it a podcast thank you very much for listening to us bickering on as usual and i hope you i hope you appreciated the answers to the anybody that answered the question asked a question i should say very good questions i thought very high in
Speaker 1caliber to be fair there's about 10 times that man and we do wish you a merry christmas we go out with a version of wanting what ho david city ho ho merry christmas
Speaker 2i like christmas we like christmas don't we it's a big pregnant boy i like it from me steven wilson and from ebenezer scrooge across the way from me here have a great christmas thank you very much and goodbye bye you
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