Speaker 1Propel Fitness Water with Gatorade Electrolytes, Zero Sugar, and Vitamins. Propel hydrates better than water to help you get the most out of your workout and get back to your best self. What propels you? Propel with Gatorade Electrolytes. So other albums, we had
Speaker 2electro albums, Art of Noise in No Sense Nonsense.
Speaker 3I think it's a good album. I mean, to a certain extent, they were making the same album again. You know, there's always that moments in love imitation. But I think it's good. I think they always had a musicality. I know there's one musician that we both know who I won't mention, but I was having a conversation and almost has a psychopathic hatred of Art of Noise. And this is when music. Really turned, despises them. Really? And obviously, I love the stuff, you know, the conceptualized by Morley and produced by Trevor Horn. And I think they still went on to do some interesting.
Speaker 2I think the first album is incredible. You know, it was a game changer, that first album. And then the second album, when Trevor Horn and Pitport Morley were no longer involved, is OK. This album, to me, just sounds almost like library music.
Speaker 3It's very. Well, there is a sense of that. Is there? I mean, obviously, ZTT had kind of dominated probably from sort of 84 to 86, you know. And there's a sense that this is slightly post that Art of Noise are. They had a hit with it, but they're slightly out of time. They're slightly out of place. They're slightly out of fashion. It seemed like they were all their singles
Speaker 2were like novelty singles, didn't they? The singles were. They did a single with Max Headroom and they did a single with Dwayne Eddy. And also, you know, partly, let's be fair to them. The whole idea of the Art of Noise was really to explore the possibilities available for the first time of sampling. Yeah. And three years later, sampling was commonplace. It was everywhere. So they no longer had that kind of novelty aspect on their side, did they? I think when the first time you heard Close to the Edit or, you know, some moments of love, it's like because you'd never really heard music based just purely on sampling before.
Speaker 3No, by this stage, it was ubiquitous. I agree. And in some ways, it was almost like Art of Noise could have been manual and the music from the mountains. Which is a bit what it sounds like to me.
Speaker 2Other records from this year, Savage, Eurythmics, one of their best, I think.
Speaker 3Yeah. Well, I think it is. I think it's an interesting thing, isn't it? Because I really like their debut. Is it In the Garden? Yeah, it's great. I think it's great. And I think the two albums that followed that, Touch and Sweet Dreams, are really decent. To me, it kind of got a little too brash and mainstream. And this, again, the age of melancholy. So the mid-80s, the 85, it's got that happy, clappy, big single, live-aid mentality. They come crashing down with this. A very experimental single with, I love to listen to Beethoven. But some of this album is really quite brutal as a kind of S&M quality, or at least a sense of being in abusive relationships. And a couple of the harshest ballads and most experimental textures they used.
Speaker 2I really like that. I like it. I mean, I like all of you. I like Be Yourself Tonight. You're right, it's a big stadium album, but it's a great album too. I think they were very good at making every album feel like it had its own personality and its own identity. And Savage definitely does. One Second by Yellow. I don't know if we talked about Yellow on the show. Maybe this isn't necessarily the album I would talk about.
Speaker 3It's good. Isn't this with Billy McKenzie?
Speaker 2Yeah, Billy McKenzie's on this record. But one record we probably should talk about, because this is a band that have come back and completely reinvented themselves, is The Ideal Copy by Wire. Yeah. Now, just to give a little history. So, The Wire came out of punk, released one, I wouldn't say generic punk record, but clearly coming from that genre, Pink Flag, then developed more into a kind of post-punk Pink Floyd with Chairs Missing and 154, and then released a live album and then broke up. They've come back in 1987 and they've made an album where they have completely grasped the times, if you like, and redefined themselves as a kind of electronic band. Yeah. But still sound very much like a continuation as well, don't they? They've pulled off that trick.
Speaker 3Well, the transition for them was there was an EP a year before this, called the Snake Drill EP, and that is possibly my favourite ever Wire release. And that, in some ways, has the sonic experiments of 154, but where they're going, they're a kind of stranger, electronic textures and so on. But, you know, I know this isn't the thing to say, but my favourite period of Wire is this mid to late 80s period of Wire.
Speaker 2Why is that not the thing to say?
Speaker 3Because I think everybody believes that Pink Flag, 154, Chairs Missing, this is the definitive Wire. Whereas for me, they absolutely reinvented themselves as a kind of viable electronic pop band, but a viable electronic pop band with ideas in motion, I mean, I suppose I feel it a lot more than I feel the earlier. The earlier work is slightly colder in its production, slightly icier in its vocal delivery. This, I kind of find more all enveloping, really.
Speaker 2I personally would have said the opposite. I think the first three albums are much more organic, much warmer. This is almost deliberately a very Teutonic sounding record. In fact, I think they recorded it at Hansa, didn't they? With some of the same guys that had been working on the Depeche Mode records. I think I'm right in saying that. So to me, it's a much more, much more cold, electronic, robotic, mid-80s sounding record. But I love that because I love those kind of records. But it's like you say, there are these two very distinct phases of Wire, but there's a kind of archness and a curiosity about the possibilities of the technology, which goes through all of their work, whether it's the beginning or this group.
Speaker 3Well, at times it's like an avant-garde new order as well, to me.
Speaker 2Yes, or a slightly less commercial sort of Depeche Mode in a way. And they were on Mute, which was Depeche Mode's label at the time. It was signed by Daniel Miller to Mute. In fact, I think Daniel Miller was pretty much responsible for getting them back together again. He was like, "Guys, you've got to get back together again and make a record, and I'll sign you to my label." And it's funny because this is a Wire record that sounds like it was made almost because they'd signed to Mute. It's got all the hallmarks of a lot of the other Mute acts of the time. So, but as everything in Wire world, it's twisted into a shape which could only be Wire.
Speaker 3They really do. They do personalise that sound, you're right. You know, it's probably as close as they came to the mainstream in the sense that you could imagine the stuff being played on the radio with Depeche Mode, with new order. But they haven't lost any of their creativity or archness. It's, you know, it's just a really nice fusion of approaches.
Speaker 2I think Ahead was almost a hit, wasn't it? Yeah. It was like an indie hit, yeah.
Speaker 3But I was going to say, going backtracking slightly, Pet Shop Boys, one of the other things they had was a tremendous sense of design. You know, we were talking again in the 70s that say even Fleetwood Mac had this. I think that was one of the things that also gave an indication that Pet Shop Boys were much, much more than just an electropop duo. The way in which the records were presented as well, the artwork and so on. There was a very considered sense. And Wire, I think, equally have this, that every album isn't just an album. It's an art project as well.
Speaker 2Yeah, that's the art school background for a lot of these guys. So let's move on to singer-songwriters. Now, singer-songwriter is not really a genre you would immediately think would be blossoming at this time, is it? You wouldn't, 1987, you wouldn't think singer-songwriters. But actually, there are some great singer-songwriters around at this time making some of their best work. Momus, we love the Moms on the album years, don't we? His second album, The Poisoned Boyfriend, came out this year. Might be my favourite. Yeah, one of my favourites too. He's still very much a singer-songwriter here, isn't he? Though later on, he would almost become like a pervier version of the Pet Shop Boys. But here, the acoustic guitar is still fundamental to the sound of the record. It's quite lush and
Speaker 3quite musical, isn't it, in parts? Yeah. And obviously, it has 'Closer to You', which I.
Speaker 2'Closer to You', beautiful. But he's definitely evolving already from his first record. And we've also got. What I think you and I would both agree is our favourite David Silvian record this year, 'Secrets of the Beehive'. Which, in a way, I kind of think of the Talk Talk albums from the late 80s as well as being real anomalies in terms of when they came out. And I think this similarly, because there's something so. You think of the 80s as the era of big reverbs, processed DX7 keyboard sound, all the things that people that don't like 80s music kind of point at. And there was a lot of that, to be fair. Here, David Silvian comes out with an album that's acoustic guitars, nylon-strung guitars, string arrangements, piano, brass, a beautifully kind of dry, warm, upfront quality to his voice. It's completely an anachronism, isn't it, in 1987?
Speaker 3It is. I mean, it's much more like a kind of witch season production from the late 60s, early 70s. You know, it's closer to Nick Drake or early John Martin. The only thing that, in a way, is perhaps 80s. is some of his vocal affectation some of his vocal sound perhaps he has a sound that you associate with the 80s it is i think my favorite david sylvan album and it is one of my favorite albums of all time though interestingly enough probably in the first few weeks of its release i was slightly disappointed in the way that you may remember this i was slightly disappointed as well with spirit of eden though that became you know one of my favorite albums of all time and you know laughing stock as well in that what sylvan was doing with tin drum obviously with japan brilliant trees and gone to earth it was using the technology of the day in really interesting ways this was 1980s music blended with kind of organic jazz elements and it seemed to me that it was a really interesting way of using the technology of the day and it seemed to be some kind of future so i remember being excited when i listened to those albums thinking this is where music can go ditto color of spring to a certain extent because there's an aspect of 80s production space and technology but it's more organic in its integration of solo instruments and say certain jazz influences and so when this came out it was like spirit of eden like laughing stock organic 100 an album that actually could have existed in 1970 as much as it could have existed in 1987 whereas tin drum brilliant trees they couldn't have existed in any year or probably outside of 81 84 this was a timeless statement and initially i remember being slightly disappointed and i always liked the single pop song which i felt almost kind of took on the brilliant trees gone to earth innovations but anyway yeah very quickly it became my favorite david sylvan album after that initial disappointment yeah it's got
Speaker 2a timeless sound it doesn't really belong to the era it was made in and and those kind of records i suppose sometimes take a period of time to resonate because they don't belong to whatever whatever else is going on uh they just exist in their own little bubble but of course the the advantage of that is that that bubble kind of preserves them forevermore uh they'd never date they'd never become associated with the era that they were made in yeah and i think the six of the beehive still sounds as good as you know as it ever did in that sense because it doesn't pay lip service to the technology of the
Speaker 3day and it also fits in you know when we're talking about this era of melancholy and goth sensibility he equally taps into you know if there is a difference of course nick drake's work is melancholy but it's several degrees removed from goth there is something perhaps in the darkness of sylvan's voice in some of the unusual chord voicings where you can certainly pitch it alongside the 4ad version of goth and that's why nick
Speaker 2drake in many respects is is the poster child for this whole idea of music out of time because his albums didn't sell at the time they were not part of the zeitgeist nobody was interested in listening to those records at the time but of course they just go on year after year gaining in stature reaching a new audience because they don't belong they don't belong to any genre they don't belong to any time they exist outside of time they exist outside of genre and i think that's true of this album too and as you say color of spring spirit of eden american music club i know you're a big fan of american music club engine is this a good entry i've never been a fan is this good entry odd
Speaker 3we've never really i think dealt with a year where there's been an itzel or american music club album that i love uh this is another one you don't really like yeah it's it's not that i dislike it at all i mean itzel i think was um a tremendous songwriter and he certainly had elements of of drake in what he did i'm talking about obviously nick drake there not charlie drake not charlie drake or drake or charlie drake yeah you know very distinctive emotive songwriter i think that in some ways at this stage american music club were almost a part of that pack of american indie artists like ten thousand maniacs rem and so on whereas i think that there's an album a couple years later songs of love live which was a solo um itzel album which i thought was tremendous and i think that you know when they reach the stage of everclear and mercury that's when it's hitting the music that certainly had an impact on me but it is linked i suppose to secrets of the beehive in that his singing is very timelessly unaffected compared to a lot of styles in the 80s and it is almost kind of reaching back to classic singer-songwriters also
Speaker 2this year we have a van morris now poetic champions composer i'm not familiar with this i'm a big van morrison fan i'm not with this particular record but he seemed very prolific during this whole period it still is it still is very prolific at least two albums a year i'm guessing tim this is kind of a a middling to fair entry in the discography it's a
Speaker 3good entry good i mean i really like this period um it's kind of it's the one that follows no method no guru and it's similar it's van in spiritual mode it's van in ballad mode which i like you know it's not as far out as astral weeks it's leading towards some of the better moments of avalon sunset for example the only kind of comedy moment was his i think because he plays a lot of instruments on it so there's all sorts of photographs in it of him sitting very self-conscious a piano or holding a guitar in the in the inner sleeve okay or it might even be the on the outer sleeve but this idea of like i played this there's
Speaker 2lots of saxophone on it oh yeah he's got him with a saxophone he liked being a saxophone he did it
Speaker 3was him it was him as fella cootie on saxophone
Speaker 2no he's better than fella cootie to be fair he plays some lovely sax on on some of the records
Speaker 3in the 80s yeah no i'm being yeah it's a really good album in some way he's
Speaker 2not john coltrane but then i like
Speaker 3david bowie's saxophone playing nothing wrong
Speaker 2with somebody who can't really play picking up an instrument and having a go yeah especially if you're david bowie or van morrison other albums this year in the singer-songwriter category we've got solitude standing by suzanne vega wonderful life by black robbie robertson's self-titled album strange weather by marianne faithful is that worth talking about a little bit it's quite an unusual uh career development too isn't it i i loved that and i loved it at the time still really like i mean the big the big change was on the previous hour wasn't it with broken english but this is kind of continuing her new sound which is with this very broken croaky voice as opposed to sort of angelic voice that she she'd been known for in the
Speaker 360s well this was quite an unusual album because it featured a lot of her versions of classic songs from sort of 30s 40s the songbook um but she was using a lot of really interesting contemporary players so bill frizell is the guitarist on it so a lot of the songs it again it has a certain similarity with the way in which i think david torn was on secrets of the beehive wasn't he yes he was yeah and yeah but he wasn't as noticeably torn-esque you know when torn's on an album often he dominates what i really like with secrets of the beehive is that he's selectively used and he's beautifully used his loops his solos his sounds they really integrate nicely with the material and bill frizell is used in a very similar way in strange weather so it's a series of kind of classic songbook pieces in a way although there's a version of his tears go by the rolling stones classic well her classic
Speaker 2to be fair and her classic of course written by
Speaker 3the stones and it has a timeless quality but with some very interesting instrumentation and of course
Speaker 2the title track's written by tom waits specifically yes specifically for her is that right would did he write it for her possibly yeah because he hadn't recorded that song himself it's it's i think he did a version later on on the one of his live records but i don't think he'd recorded it so i've got a feeling it was written for her again
Speaker 3it's quite i mean it's interesting it's quite a dark album and as we said you know if secrets of the beehive in some ways can almost fit in with this year of melancholy year of goth this can as well in a tangential way despite her being an artist from a different generation let's
Speaker 2talk about an artist that i think in many ways is a kind of quintessential album years artist because i don't think a lot of people know her i don't think a lot of people know her and yet she's top tier i think in terms of her artistry and her experimentation and the ambition in her music it's the sort of thing you and i love but probably an artist that not a lot of people listening will be aware of which is jane sibery yeah and this is the walking her album from this year which may be this and the following year about following out bound by the beauty for me is the ones i know the best i know she's made a lot of records since then i've kind of lost touch with a little bit here but this this was quite uh mind-blowing i think it's a mind-blowing album to hear um in in 1987 it's almost like i mean i hate comparing but i'm going to do it anyway because obviously you have to give reference points she's almost like somewhere between the sort of performance art ambition of someone like laurie anderson but with the musicality and the songwriting chops of the ubiquitous kate bush yeah i mean ubiquitous in terms of every experimental female artist that has ever been ends up getting compared to kate bush at some point but you know what i mean by that it's it's or she's or she's or she's more like an existential existential katie lang or she's elements of that too yeah she's canadian
Speaker 3isn't she she is canadian and there's also uh ricky lee jones at her most experimental as well you can hear it in jane
Speaker 2yeah like more experiment like a much more somewhere between laurie anderson and ricky lee jones maybe that's a better a better
Speaker 3kind of i think the cold electronics and the jagged rhythms recall laurie anderson and there is a kind of spoken word element and a conceptual element to almost every single lyric um and there are also some you know very very complicated musical moments and i remember weirdly enough to bring an entirely different set of reference points um i really liked this album and it was as you say very fresh and very unexpected it's got a couple of incredibly long pieces that have passages of sound or spoken word or will then go into some kind of really peculiar atonal time or electronic and i think she's being interviewed in radio one and i was kind of curious because it as you say although you can say okay ricky lee jones kate bush laurie anderson this is sort of the ball part we're talking about it had a unique sound and it was arguably more ambitious than that reductive description suggests but what was interesting is when she was being interviewed on radio one and you can imagine this 1987 doing oh yeah well i remember my mind was blown by yes and king crimson and because she was a canadian singer-songwriter she probably didn't realize how verboten these were as influences to mention on the nicky campbell show you know she's definitely
Speaker 2got her own thing going on it's one thing you have to go and listen to kind of understand it that you're right in saying that that's ballpark it's kind of trying to describe something to someone and nothing really will do but that's the ballpark we're talking about very experimental but beautiful voice and the sad thing was i remember this album was an out the sort of album you could pick up in the bargain bins uh at the time it got a lot
Speaker 3of publicity i mean this was her one album in britain where she got massive reviews in melody maker and they were pushing it um and as i say even got on radio one you know this is where she was she was getting the big push and maybe it just didn't click because she's such an eccentric artist of course the thing is you touched on something earlier where you said there's even an element of katie lang because you're right she can do classic simple ballads quite uniquely and katie lang was a huge fan and katie lang became one of the great supporters of jane siberian i think did a couple of cover versions of her songs all right i didn't know that um and also when i was a boy brian eno produced get
Speaker 2your drinks out guys yes brian eno produced some of
Speaker 3when i was a boy so i think my favorite albums are when i was a boy the walking and as you say bound by the beauty that followed this which had a much more ethereal country i mean the interesting thing with that was probably as close as she got unfortunately it didn't get as much publicity as the walking i think the walking was just too alien for people to perhaps grasp whereas bound by the beauty sort of fitted in with that lovely cowboy junkies contemporary country movement yeah i like
Speaker 2that record yeah
Speaker 3but yeah i think probably it was not the right time i think that was probably 89 or something it was maybe just slightly too late for her to capitalize on that but yeah i mean really talented and quite um i just say a unique mind you can tell in the way that you can with kate bush when you're listening to someone like laurie anderson kate bush sibery there's a really unique mind present and you hear it in every moment of the music
Speaker 2sometimes i think female artists are much less obvious with their influences than male artists and particularly the sort of female solo singers something very hard to understand i mean you know think of bjork or yeah or kate or jane sibery or jonie mitchell or so it's hard sometimes to understand uh in fact another singer we're going to come on to in a minute um shenaid o'connor released her debut album this year again it's kind of hard to understand where you know what are the influence what what has kind of gone in to make this artist what's make
Speaker 3this yeah yeah yeah no exactly and so say when sibery was already one those were not what you'd necessarily expect although you can hear i think some of the drinking game naughty robert fripp rhythms in some of what sibery does so you can possibly hear how that's filtered through but it's it's filtered through her music in such a
Speaker 2unique way i don't hear it at all i mean but in you know in a good way um sure that but you know
Speaker 3mitchell she always talks about again songbook music or country music or rock and roll music you know she's huge in terms of old rock and roll which occasionally you hear where she she references it but her own music she might reference
Speaker 2it in the lyrics yeah you don't really hear it in the music at all yeah yeah jane sibery i mean i definitely think this is a you know this artist because most people listening probably will not have heard of jane sibery and you should definitely go and check out the this album particularly i think from this year the walking because it's got a nice balance between the accessible and the experimental yeah as you say her next album was a bit more a bit more sort of commercially minded but this album is is the one i think that really made people take notice of her but maybe she is one of those artists that will still be discovered 100 years from now because she does you know she does she has made her own
Speaker 3little world here well i bought it i think because i read there was a rave melody maker review and which is what kind of led me to it but where she'd come from in terms of where she'd come from her first album is pretty straight singer-songwriter but then her second third album what made her a star in canada she had a hit called mimi on the beach she really ties in with that kind of early 80s toronto new wave electropop scene and it's a bit like new wave filtered through a warped imagination and the walking to me is where she takes it even further now this isn't
Speaker 2an album but the first sugar cube single was this year uh birthday what a debut single that was uh had we ever heard anything like bjork before i mean again i can't think of a precedent can you think of if you hear bjork's voice on birthday what are you going to think of i mean what's
Speaker 3again lovely is i keep on coming back to what makes birthday special is it's at once fresh quirky unlike anything you've heard but fully engaging joyous accessible it manages to pull off a difficult trick and it sold well over a million and made the record company that we eventually signed to one little indian did it not and yeah it was incredibly fresh and i think coming back to how important artwork and packaging is i think that those early paul white design sleeves were also quite unlike anything that was about at the time and it perfectly matched the playful chaos in the music of sugar cubes i mean she
Speaker 2sings with this kind of giddy she's she's completely lost and in fact when you see her perform too she's she's tiny isn't she she's tiny she's wearing this little dress and she's wearing this little dress and she's just got this amazingly big powerful giddy voice and you've not heard anything like it now the problem i had with the sugar cubes is as i bought the subsequent singles i began to realize that she and i think she began to realize too she was an extraordinary talent in an kind of okay band yeah and of course she left sugar cubes after the second album or third album and started a solo career which of course the rest is history and i think she's a great artist and i think she's a and really found herself but this was the first time we'd ever heard bjork uh first time i'd ever heard bjork first time most people had ever heard bjork and uh it's still one of the great debut singles of all time i think birthday still sounds but
Speaker 3they're weirdly enough in terms of her music when i of course really respect what she went on to do and some of it actively like a lot but the sugar cubes are what i actually come back to in terms of personal enjoyment i think but you're the only thing i can think of to a certain extent that sort of reminds me of the vibrant range of her voice maybe billy mckenzie maybe russell mayle of sparks also this year mavericks off their
Speaker 2rocker forest is this category we're currently residing in this
Speaker 3is this is very sensitive this title
Speaker 2obviously yeah listen to me you know how sensitive i am frank's wild years by tom waits is this his maddest record it's it's tom on 10 isn't it tom on 11 uh in terms of all sorts
Speaker 3of experiments you know i mean i like doesn't he make the kind of 78 rpm sounds yes well there's a version of innocent when you
Speaker 2dream yes yeah i mean it again it's an album that you know we're talking about the sylvan album existing outside of time being an anachronism this is another example
Speaker 3isn't it yeah and yet another example of the 1980s not being what people think the 1980s were because if you put this as a 1980s album which it was and it was critically lauded it was bought it's just an extraordinary piece of experimental music that made its way to the charts there's
Speaker 2nothing remotely commercial about it nothing remotely 80s about it no you're right yeah
Speaker 3um yeah and it's definitely a really good entry i think into the weights catalog and once more i suppose if you're in this age of melancholy and goth it's very dark it's dark
Speaker 2i kind of think of it as a in my mind i always think of the trilogy of swordfish rain
Speaker 3dogs and this yeah this is the well i think the most eclectic in some ways they're all eclectic but it's probably swordfish trombones and trombones is my personal favorite this is the
Speaker 2least accessible frank's world
Speaker 3this is certainly the least accessible in some ways it's where he goes after this you know bone machine is like an industrial version of this in some ways i think it's
Speaker 2partly the production as well isn't it it's almost deliberately parched and dry and like you say there's the track that's made to sound deliberately like it's playing off a 78 rpm record it's it's deliberately made to sound almost under produced do you know or unproduced do you know i
Speaker 3think it is i think that on swordfish trombones and rain dogs you have all of the experiments all of the eccentricity but there will be moments like say downtown train or johnsburg illinois where suddenly there is a drop of conventional beauty or sanity and i think on frank's wild years it's a little like a residence recording there isn't a single moment that isn't peculiar in some fashion yeah even if
Speaker 2the song itself is not twisted there's something about the production that will make it sound slightly removed from reality i mean i suppose that in its nature it's a musical it's a musical play i i think it still sounds fantastic record if if nothing else it's a master class in lo-fi
Speaker 3production at a time when huge productions were really at their commercial peak yes and you know it is interesting isn't it what artists thrive in what decades because neil young who's had such a 60s and such a 70s suddenly is so adrift at this point i think he does his album life doesn't he you know he's absolutely floundering similarly to a certain extent i suppose joni mitchell around the mid-80s similarly artists like yes you know where they've become producers toys rather than a kind of band dictating their own directions but then you get artists like tom waits who you know obviously had a decent 70s absolutely comes into his own as a creative force in the 80s
Speaker 2yes very much so the and peter gabriel yes and kate bush reaches a peak in the and kate bush reaches a peak in the 80s yeah there's one more one more album i don't know if you know this album tim in that i've got in the mavericks off their rocker category locust abortion technician by butthole surface now what's interesting about this is that i always thought of swordfish trombones by tom waits as being a nod to trout mass replica yeah and i think locust abortion technician is also a nod to trout mass replica there's something similarly like what the hell is this is going on here are you familiar
Speaker 3with the record no i'm you know i remember seeing it around and i'm pretty sure you might have played me a couple of pieces around the time but that's it it starts off
Speaker 2with a cover version of sweet leaf by black sabbath that choice is like no cover version you've ever heard in your life before there are moments that are like cow punk there are moments that are like prog rock there are moments that are like psychedelic music it's a lot of things that are very very peculiar very eccentric very alien music to me this is what i wanted the residents i've never been a big fan of the residents something always a bit twee about the residents to me the butthole surfers they sound like they're just having fun with the possibilities of music and it's really hard to understand where they're coming from okay tim why don't we let let's we didn't know when we started this if this was going to be a two-parter but i think it's pretty clear at this point because we've still got a lot to cover yeah um that this is going to be a part a week we apparently have completely lost our ability to do anything in a concise way we can't self-edit can't edit anymore it's like i can't go past an album without having a two-hour conversation
Speaker 3i think the thing is that what people don't seem to realize is that a lot of the previous podcasts we were talking for sort of often three hours you brutally edit it then i would even more brutally edit it and that's how we ended up with these concise podcasts whereas at the moment i think we're feeling i don't know really profoundly indolent and this is why we might leave every asinine utterance i think it's also the sense
Speaker 2that we know that we've kind of got our fan base now with the people that listen to our podcast that kind of follow our podcast i think they're prepared to go with us now aren't they they might
Speaker 3be but this might be the top graphic oceans it might be trent darby's second
Speaker 2album it might be the godly and cream consequences it just divides the audience straight this is it it's like yeah we'll sort of mr bonus i suggest that you shut the fuck up well we'll soon find out when we especially when we release our four part 1977 which by the time you hear this folks will have
Speaker 3been already out is that the sound of the average listener well the thing is you see if people are
Speaker 2listening to this then it means they've made it through the four part 1977 so if they've made it through the four part 1977 you've got to figure that they're going to go with us on a two-parter right that's
Speaker 3possible or you think
Speaker 2this would be the straw that breaks the
Speaker 3yeah it's like not only is it verbal incontinence it's 1987 not only that they've not chosen my favorite album of the year rory gallagher not even mentioned him rory
Speaker 2gallagher released now in 1987 i don't know anyway okay so we're going to take a break here we're going to come back and do 1987 part two in the next episode we will wrap up 1987 in a in a two-parter i can guarantee you that he said with misguided confidence so for now it's goodbye from me and it's goodbye from tim
Speaker 3goodbye now at kroger your points add up to more ways to save every trip
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Speaker 5holidays sound a little different when we show up for one another and for families facing hunger your generosity could mean one less difficult choice across the feeding america network your donation fulfills the promise of connecting families to nourishing food and greater stability when you give this holiday season you help ensure more neighbors can gather around a meal this thanksgiving give it feeding america dot org slash holiday
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