Album of the Week - Vol.30

I Never Loved a Man the Way I Love You ARETHA FRANKLIN (1967)
Week: Fri 9th to Thu 15th May, 2025
Format: vinyl, iPod
Producer: Jerry Wexler
Tracklisting: 
1. Respect *
2. Drown in My Own Tears
3. I Never Loved a Man (the Way I Love You) *
4. Soul Serenade
5. Don't Let Me Lose This Dream
6. Baby, Baby, Baby
7. Dr Feelgood (Love is a Serious Business) *
8. Good Times
9. Do Right Woman, Do Right Man *
10. Save Me
11. A Change is Gonna Come *
TOTAL RUNNING TIME: 32:27

I first listened to this album in 2012, as part of the awesome music blog project I was a part of called afyccim. The word was an acronym for 'a five year crash course in music', and there were four of us writing reviews on albums. Each year we concentrated on a decade, listening to one long player a week. One of us would write the main review, and the other three would supplement the entry with mini reviews. It was an awesome experience, but we only got to about halfway through the 80s. The 60s and 70s reviews are still up on the old WordPress site. In fact, click here for our review of this album, which coincidentally was our very first one.

Anyway, I was quite impressed by the record. It was a great introduction to a bit more of her music. I only knew Respect (of course) and the two tracks featured in The Commitments, Do Right Woman, Do Right Man and the title song. It's an enjoyable listen, and then moved on to our next album, which was The Band's Music From Big Pink. 

Fast forward a few years and I become enamoured by a 20th anniversary vinyl release of The Flaming Lips' excellent album The Soft Bulletin. It was being reissued by a company called Vinyl Me, Please and was an exclusive product that was only available from their online store. There were a number of ways to get it, but the most appealing option was to buy a three month membership to VMP, where I would get sent a LP a month for that time. After checking the other two releases, I signed up and surrendered our bank details. They were Queens of the Stone Age's Songs for the Deaf (on double red vinyl) and this album I am blogging about right now.

The Aretha album was the last one of the three, and it was delayed in arriving. Possibly due to the Christmas rush/crush, I was notified that it was on its way in early December 2019, but it didn't arrive until February the following year. No matter. It's a lovely reissue with a lyric booklet, a photo from the recording and spekky, swirled white and purple coloured vinyl. Sounds freaken great too! Over the years the album has grown on me considerably. It's not something I sought out, but I'm very glad I own it. 

Not knowing much of Aretha except her big hits, I was surprised to learn that this is her tenth release, following years of being signed to Columbia Records. Enter Jerry Wexler and his Atlantic label who encouraged Aretha to search her soul and let loose. I guess it's because of her rebirth and rebranding that this album feels like a debut, and not a tenth offering. There's an energy and an excitement to Aretha's voice and the music behind her. It's like she's realising this is the music she is meant to sing. 

This bold and unabashed approach begins with a searing cover of Otis Redding's Respect, which let's face it, eclipses the original version. The fact that many forget it was Redding's composition speaks volumes of how powerful and engaging Aretha's rendition is. It's not just a song, it's a rally cry, and an anthem for change. Aretha's soulful tones would become incendiary for putting the spotlight on gender equality, racial discrimination and social division. It is fitting that this album ends with a lovely version of Sam Cooke's A Change is Gonna Come, complete with a new intro in which Aretha briefly details why she was moved to sing it. Her version of Cooke's Good Times is pretty great too, which is considerably lighter in tone. 

In addition to feminist anthems and calls for change, Aretha gets down with her bad self on several tracks. There's a funky groove on tracks like Save Me and Dr Feelgood (Love is a Serious Business) that gets your feet tapping. The mood is dialed back to melancholy longing for Drown In My Own Tears and Don't Let Me Lose This Dream without sacrificing the soulful feel of the album. 

My absolute favourite songs remain the title track and Do Right Woman, Do Right Man. As I stated previously, I was familiar with The Commitments' versions before hearing Aretha perform them, and I can see why they were picked for the film. While the renditions for the The Commitments movie are good, these ones are gold. Bizarrely, I would also come to love another version of Do Right Woman, Do Right Man courtesy of affycim when we listened to The Flying Burrito Brothers' wonderful album The Gilded Palace of Sin from 1969. Rather than the R&B ballad treatment it gets here, the FBB scale it down into a slower, early alt-country rock swinger. Both versions are terrific, each with their own merits, and each feel right for the artist.

When Aretha sings that she has never loved a man the way she loves you, it's transcendent. As the band stop to give her the a cappela line, she infuses it with desire and longing that's just riveting. When she launches into the bridge with "I can't sleep at night..." and the musicians take off with her, it's a brilliant moment, and arguably the highlight of the entire album. If you've not given this a spin, do right by yourself and change that. The only criticism I have is that is all over in less than thirty five minutes. This record takes you on an exquisite journey, and like most enjoyable rides, it is all over too soon.

Paul Kelly's Mongrel Memoir

Paul Kelly released a mighty box set in 2010. It consisted of his book How to Make Gravy, and an 8CD set of live recordings from 2004 to 2010, titled The A to Z Recordings. I'm pretty sure that Rhones gave it to me for Christmas later that year. Nearly fifteen years later, and I've finally finished reading the book, and listening to the CDs. 

It was quite the journey. The CDs include 105 songs culled from his A-Z concerts. He would usually perform four gigs at one place, playing songs in alphabetical order, with each night tackling a different part of the alphabet. We went saw one of those shows at the Quarry Amphitheatre in November, 2008. It was the second night, which encompassed F-L, I think. We picked that night in the hope of getting

How to Make Gravy, which from memory, I think he ended the first act with. I've not been able to track down the setlist from that evening unfortunately, but I have fond memories of watching Paul and his nephew Dan perform stripped back versions of songs throughout his catalog. Sometimes Paul played on his own, usually on an acoustic guitar, and Dan would join him wielding an electric, offering up harmonies as well. Occasionally, Paul's then-partner Sian Prior would step out and add some clarinet, most memorably on From St Kilda to King's Cross. 

As it was an unseasonably cool November night, with a high chance of rain, Rhones and I donned ponchos, as did many other audience members. Good thing too, because the rain did fall on a few occasions. During their rendition of I Can't Believe We Were Married, Paul changed the last word from wed to wet, empathising with the audience getting rained on:

 "I can't believe we were married/That we...were...wet"

It was a highlight of the night, a nice moment of an artist and their crowd bonding. If the setlist of that gig was similar to the tracklisting of the Night Two CDs of The A to Z Recordings, then they kicked off with The Foggy Fields of France. I can't remember if that was the opening song or not, but they definitely did perform it, and it was the first time I had heard the song. I took an instant liking to the track, which I would learn was on the Stolen Apples album. Like the second Night Two CD (disc four), I'm pretty sure the night ended with Leaps and Bounds, a song I have a love-hate relationship with. It's a great melody, with some iconic lyrics, but what does it mean? I go leaps and bounds? What? You remember? Remember leaping and bounding? Yeah, I don't get it.

Getting back to this box set, which I would have in my possession about two years later, I made the decision to read the book while I listened to the CDs. The 576 page tome offers up a chapter for each song on the CDs, with two extra parts for Treaty and This Land is Mine,which PK felt he couldn't capture live in the same spirit as the others. I either forgot the fact, or didn't realise that he had a hand in the Yothu Yindi classic. The chapter devoted to the song talks about how he befriended the band and how they played together in Arnhem Land with the hope of writing new music for their next album, which would become Tribal Voice. Getting Treaty right seemed to be an arduous task, and the late band leader Mandawuy Yunupingu wanted another Aussie music legend to have a hand in its creation, and so sought a meeting with Midnight Oil's Peter Garrett. It's a fascinating read, and Paul also describes how the song transformed into a bigger monster following the release of dance remixes. It's a shame that there's no live recording of it included, but that was probably the right decision to make. 

So, each song on the CDs has its own story or anecdote or a random list of musings attached to it, after the lyrics. I made the decision the read the book as I listened to the music. Sometimes the length of the song married up with the reading time of the accompanying chapter, and sometimes it didn't. There are some lengthy moments where the song in question only gets partly referenced. A good example of this is the text for Won't You Come Around?, one my favourite songs from the excellent Ways and Means album from 2004. Instead of being a retrospective look at the writing of the track, PK includes a fairly detailed set of diary entries from his tour in the US the year before. In one of those entries, he mentions the band soundchecking with a song that would eventually become Won't You Come Around?, a tune which came to him on one of his walks. It barely gets a paragraph or two, with pages and pages of entries outlining his journey across the country. I guess it's all about context. While the whole chapter isn't wholly about the song, it is still a fascinating read. Different cities inspire different sides of Paul, and how he chooses to document his time passing through changes with his mood, or with the city.

Other chapters similarly have little to do with the song, but remain interesting insights into the man, or offer up nuggets of history. My empathy for First Nations people's struggle with January 26th and white colonisation in recent years can be attributed to the chapter discussing his song Jandamarra/Pigeon. Jandamarra was an indigenous man from the Kimberley region of WA, and led armed uprisings against the colonist white settlers in the late 1800s. The chapter begins with Paul talking about the history he was taught at school focusing on white settlers or explorers, like Burke and Wills, for instance. Massacres of the First Nations people, and the battles between black and white Australians, were conveniently overlooked for inclusion of the curriculum for young students. As such, the toll that was taken on the Aboriginal and Torres Strait Islander people by the colonists has been considerably downplayed or ignored as the years have passed. This song tells of Jandamarra's plight, cleverly retold from the perspective of Officer O'Malley, who was charged with finding him. To say this chapter was eye-opening for me is an understatement. It planted a seed that has since left me uncomfortable about celebrating Australia Day on January 26th. 

Another chapter I really enjoyed, was the brief one about one of my favourite Paul Kelly songs, Don't Start Me Talking. A keen plunderer of great artists, the title and opening line of that track was taken directly from Elvis Costello's classic Oliver's Army. The chapter ends with a paragraph on how he believes that opening lines can be so important in grabbing the attention of the listener. We are the left with a list of songs and a list of opening lines, and told to match them up. If we get stuck, there is answer page at the back of the book. There are a few chapters that employ this look-at-the-answers-to-learn-more technique. Although I thoroughly enjoyed reading this, I kinda wish that I had done it in a shorter period of time. I struggle to remember some parts of the book, but I've allowed myself to listen to the songs as much as I like now.

In fact, when Rhones signed me up to the Paul Kelly Record Club a few years back, I left my copy of Selections from The A to Z Recordings double vinyl sealed. I wasn't going to listen to it, until I had finished reading and listening. As I write this, on ANZAC Day, I have taken the set out of its plastic wrap and am currently enjoying PK sing They Thought I Was Asleep. However autobiographical the song feels, he confesses in the book that it was a work of fiction. 

In the years since this set was released, Kelly has issued a good handful of albums, with 2012's Spring and Fall, and 2017's Life Is Fine ranking with the best records he has given us. While I haven't spun it a lot, last year's Fever Longing Still (album No.29, if you're keeping score) had some great tracks as well. It notably featured the first full band studio recording of Taught By Experts, which appeared on his solo Live, May 1992 offering. I wonder if he would ever consider another A to Z tour/box set that would look at his recent work? Be hard to ignore his classics, particular for fans, but maybe a new integration or something could be on the cards. A lot happens in fifteen years. You can only hope. Be careful what you wish for, as one of his songs says. 

Album of the Week - Vol. 29

Tumbleweed Connection ELTON JOHN (1970)
Week: Sat 29th Mar to Fri 4th Apr, 2025
Format: Spotify, iPod
Producer: Gus Dudgeon
Tracklisting:
1. Ballad of a Well-Known Gun
2. Come Down in Time *
3. Country Comfort *
4. Son of Your Father 
5. My Father's Gun
6. Where to Now, St Peter?
7. Love Song *
8. Amoreena *
9. Talking Old Soldiers
10. Burn Down the Mission *
TOTAL RUNNING TIME: 46:56

Now, I'm not much of an Elton John connoisseur, and the only albums of his I own are Goodbye Yellow Brick Road and that blue Very Best of set that came out in the early nineties. Occasionally I get turned on to the odd Elton tune here and there, but this album took its sweet time.

The first domino to fall came after I watched the movie Men, directed by Alex Garland in 2022. It's a weird watch, and I won't go into it, but the closing credits featured Love Song by Elton John. It didn't register with me at first, but the original version by Lesley Duncan played during the movie's opening. She wrote the song, and contributed backing vocals to Elton's excellent cover, as well as a few other numbers. Beginning with a haunting acoustic guitar that fades in, I became quite obsessed with the track. I even learnt how to play it. It was so different to hear an Elton John song with no piano. 

As I listened to Love Song repeatedly on the Spottersfy while I was learning it, other tracks from Tumbleweed Connection started permeating my playlists. One song in particular caught my attention, the fabulous Amoreena. I was starting to dig it quite a bit and thought that maybe the whole album could be worth listening to. I didn't get round to it, at that point.

Elton's concert film, Elton John Live: Farewell from Dodger Stadium, coincidentally released in 2022 as well, was recorded on his Farewell Yellow Brick Road tour. It was available on Disney+, so I gave it a look, and for the most part, I really enjoyed it (Am I the only person who doesn't get the whole Brandi Carlile thing?). One song I was not familiar with, Burn Down the Mission, received quite a rapturous response from the audience, and I liked it immediately. It was the only song from Tumbleweed Connection to make the setlist on that tour, but it was played every night.

So, with those little events percolating in the old brainbox, one day I remembered there was an entry for Tumbleweed Connection in the Rolling Stone 500 Greatest Albums of All Time magazine. This list has the 2012 results, and has been updated numerous times since. I sought it out, finding that T.C. held the 458th spot. The entry for the album offered up Amoreena as an album highlight, particularly memorable as the opening song in the 1975 movie Dog Day Afternoon. In a freaky coincidence, while channel surfing that very same day, I landed on the SBS World Movies channel. Dog Day Afternoon was starting and it seemed eerily fortuitous. I made the decision to give the whole album a spin as soon as I could. 

I've really gotten into the album recently. I find it hard to believe that I've never taken the plunge before, but then again, I've never really sought out much more from Elton other than the hits. It's all very enjoyable, and although I really like Love Song, it sticks out like a sore thumb. The production on that number is quite sparse compared to the rest of the record. Not that that's a bad thing, it's just something I've noticed. Being a cover as well, it is the only track that isn't credited to the songwriting force of Elton and his lyricist comrade Bernie Taupin. 

There is an obvious American influence on the album, hence its title, and the old west seems to be an overarching theme. Fathers and their sons, guns, barns, cornfields, the American Civil War, revolutions, farms, women, cattle towns and grandmothers are all peppered throughout the record as well. Some have labelled this a country-rock album, but I disagree. It's rooted in pop, while diverting itself from the usual song formats of the late sixties and early seventies. While some tunes have a violin or something on it (looking at you, Country Comfort), I feel that it's more a groovy, soulful affair. There isn't a dud track on it! It's an album you can throw on and enjoy from start to finish. While not one of my highlights, opening song Ballad of a Well-Known Gun sets the scene perfectly, with a dirty swagger and plenty of background vocals to add a sense of campfire singalong. The 2-3 punch of the following tracks Come Down in Time and Country Comfort elevate the album to another level. They're just so good. 

Other big favourites of mine are the aforementioned Love Song and Amoreena, as well as the showstopping Burn Down the Mission, which closes the album. As I said earlier, the latter became quite the live favourite, and its easy to see why. It's such a rousing story and the rollicking piano breaks are fab. In this day and age it's easy to relate to a group who feel they're being oppressed by a wealthier faction, be they political, religious or otherwise. It's call to arms to grab what has been taken away from, or not even offered to, those less fortunate. 

Considering this is Elton's third studio effort, it sounds very self-assured. His vocals and piano-playing are top notch, and as I have espoused, the songs are fabulous. A range of musicians are employed, as this was before the classic Elton John touring band line-up was formed. However, Amoreena marks the first time that said classic musicians, bassist Dee Murray and drummer Nigel Olsson, appear as the rhythm section on an Elton song. 'Twould be the first of many! (Guitarist Davey Johnstone wouldn't arrive until 1972's Honky Château) The groove on that song is just fantastic, and Murray's lines are so funky. It's such a fun song, with the titular lady inspired by Elton's own goddaughter Amoreena. Other players appearing on the album include legendary session bass player Herbie Flowers, drummer Barry Morgan, guitarist Caleb Quaye, organist Brian Dee, and even the wonderful Dusty Springfield contributes backing vocals on a couple of tracks.  

If you've not listened to this album before, and like me, are put off by the fact they are no big hits, just give it a go. If you like Elton John, you'll probably love this. 

Young Americans turns 50

This month marks the fiftieth anniversary of Bowie's blue-eyed soul effort, Young Americans. Mostly recorded in Philadelphia, the album features a cracking band including Carlos Alomar on guitar, Mike Garson on piano, Willie Weeks on bass and Andy Newmark on drums. Some songs have different musicians on them, but that's the core group, along with those distinctive saxophone bursts from David Sanborn and the powerhouse backing vocals of Ava Cherry, Robin Clark and Luther Vandross. 

I've always felt the album was a little flawed, and that it could have been a much more cohesive affair. I think one of the biggest missteps is the awful cover of The Beatles' Across the Universe, which even features John Lennon playing on it. Their collaboration with Alomar on the closing track, and second single, Fame is soooo good. It's such a shame they couldn't capture that lightning in a bottle again. Those sessions took place in New York City, and contributing musicians included Earl Slick on guitar, drummer Dennis Davis and bassist Emir Kassan. In fact, it was those NYC sessions that made Bowie restructure his original release, which was going to be called The Gouster. Tony Visconti was reportedly mixing the album when he got a phone call from Bowie saying that he'd written and recorded Fame with Lennon, and it had to be on the new record. Several tracks from that lost album would surface as bonus tracks on reissues or special editions of Young Americans, but The Gouster would not be commercially available until the Who Can I Be Now? (1974-1976) box set, issued in 2016.  

Anyway, I've been wanting to reconstruct the Young Americans tracklisting into a better album and include some outtakes and an oddity or two. Firstly, Across the Universe is gone, kaput. I also think that Fame should appear earlier in the album, not close it. But should Fame be there at all? It wasn't included in the Philly sessions and wasn't on the original tracklisting of the album. Yes. Yes, it should. Debating whether to include either Win or Can You Hear Me?, as I don't think much of them. And, where should I put the title track? Keep it at the beginning, or follow the format of The Gouster and have it halfway through? Should I also include Who Can I Be Now? and It's Gonna Be Me, which popped up on said special editions? I think that It's Gonna Be Me is quite similar to Can You Hear Me? as far as feel and theme go, but I like the way it rises and falls. Yeah, that would make it a more interesting listen. Maybe towards the end of the album.

An outtake from Young Americans, After Today, is a dead cert. I can't believe it got bumped off! Such a funky groove with an excellent bass-line. It's not on the Spottersfy though, but the track was included on the Sound+Vision box set in 1989. Try and track it down, if you can. A big factor in album structure back then was the limitations of the vinyl format. Obviously, the running time is the most restrictive element, but apparently things like noise level and tone get compromised the longer a record runs. There was some issue with bass that stopped Peter Gabriel from putting In Your Eyes at the end of 1986's monster album So. Recent reissues and deluxe editions have rectified this. Young Americans only has eight tracks, and The Gouster only had seven. I think I'll extend the running order out to ten songs. Sounds like a good idea to me.

A tough one for me was whether or not to include Bowie's cover of It's Hard to Be a Saint in the City by Bruce Springsteen. It was initially recorded for Diamond Dogs in 1974, and was attempted again during the Young Americans sessions. It remained unreleased until it was issued on the aforementioned Sound+Vision box set, stating it was a Station to Station outtake. This claim has been argued by that album's producer Harry Maslin and guitarist Carlos Alomar, who both say that it wasn't recorded at that time. Others suggest that the released version is more than likely from the Diamond Dogs sessions, albeit with some overdubs. The second attempt apparently never eventuated into anything more than a backing track without vocals. The story goes that Bowie abandoned his second try after meeting Springsteen in person at the studio he was working in. 

I toyed with including Bowie's live cover of Knock on Wood as well, as it was the B side on the US Young Americans single. I saw it as a bit of a precursor to the soul and funk exploration he was about to embark on. It's more of a prequel rather than something I should incorporate, methinks. After repeated listens of Young Americans, and the unreleased album The Gouster, here's what I came up with. There's no wrong or right here, just my own personal faves and a nice flow. 

1. Fame (Yeah, get that bad boy right up front...)

2. Somebody Up There Likes Me (The Gouster version)

3. Right (YA version)

4. After Today 

5. Young Americans (Yep, this is a different tracklisting, after all...)

6. Who Can I Be Now? 

7. Fascination  

8. It's Hard to Be a Saint in the City (That Springsteen cover, why not?)

9. It's Gonna Be Me  

10. John, I'm Only Dancing (Again) 

I would imagine the split between sides would occur after Young Americans fades out. I think it would work well. Whereas both Young Americans and The Gouster have a roughly forty minute running time (freaky, huh?), my ten track playlist hits fifty. You're welcome!

I can't remember exactly when I heard John, I'm Only Dancing (Again), but I liked it immediately. I think it would polarise Bowie fans, as it is quite different from the original John, I'm Only Dancing 1972 single. In fact, it bears little resemblance apart from some lyrics. It's relentless too, nudging the seven minute mark, but hey, it works for me! It was included on Bowie's 1974 tours and recorded for Young Americans, as it made the grade for The Gouster, but not YA. It didn't received an official release until it was issued as single in 1979, after disco had arguably peaked. 

While it's been fun to revisit Young Americans and The Gouster, neither would be among my fondest Bowie albums. Interestingly, Bowie's subsequent record, Station to Station, released in January 1976 (like me!) is possibly my favourite offering from him, and without Young Americans, it arguably wouldn't exist. So, I remain grateful to it for that.

A Mixtape on the Spottersfy

I used to absolutely love making mixtapes. I still have a box of them in the garage. Whenever the band had a regional gig and a roadtrip was on the cards, we'd all have a new mixtape to play, and would fight over who got to play the first one. It was a great way to document the music you were listening to at the time, and to try and turn others onto something new, if they shared your carspace (it's a word!) or if you were in theirs.

The mixtape gave way to the burnt CD in 2000 for me, when we got a computer that could do so. I remember, with fondness, those nights when we would head into Planet Video in Mt Lawley to buy a 10 pack of blank discs.  The standard 80min audio CD morphed into the mp3 disc, which could hold around 70-80 songs. I still burn CDs nowadays, but at as much as I used to.

With the domination of music streaming services in this day and age, the mixtape is now a playlist. For me, I have been doing so for setlists of bands I have seen live. It's been nice to create a playlist on the Spottersfy of all the songs that were played on the night I saw them. Great to go back to a few months, or even years later.  

I think it might have been on our trip to Adelaide in January when the idea for this playlist hit me. I was listening to my iPod on the plane and had it on shuffle mode, as is my usual want. Radiohead's Everything In Its Right Place came on, and it's such a great headphone track. I got lost in the music and I think I even stopped reading and just listened. When it finished, Somewhere Down the Barrell by The Dissociatives kicked in, and it sounded great! It felt a natural flow, as if both songs came from the same album. I think that I Was Alive by the The Whitlams followed, and I felt that worked really well too! I took out my phone and noted those three tracks down. Bizarrely, the order the track were played in corresponded to their track number on the album they came from. They were all from the 00s as well!  

Lightning didn't strike again, and I forget what song came on next. I thought I had the beginnings of a fab concept for a playlist. Over the coming weeks, I spent time looking through albums from that decade and tried to find songs from track no.4 onwards. I tried to imagine how songs would feel as they finished, and the next one started. I endeavoured to cover a range of artists and music styles. 

I eventually decided on ending the playlist with O Children by Nick Cave and the Bad Seeds, which would make the total amount of songs needed to be seventeen. As most albums tend to be around 10-12 tracks, finding nos. 13-16 was a little more challenging, but I got there! Here is the playlist I ended up with:

1. Everything In Its Right Place RADIOHEAD (Kid A - 2000)

2. Somewhere Down the Barrell THE DISSOCIATIVES (The Dissociatives - 2004)

3. I Was Alive THE WHITLAMS (Little Cloud - 2006)

4. Van Occupanther MIDLAKE (The Trials of Van Occupanther - 2006)

5. In the Morning of Magicians THE FLAMING LIPS (Yoshimi Battles the Pink Robots - 2002)

6. Fed and Watered JOSH PYKE (Memories & Dust - 2007)

7. It's All In Your Mind BECK (Sea Change - 2002)

8. Anchorage THE CHURCH (Untitled #23 - 2009)

9. Something About Us DAFT PUNK (Discovery - 2001)

10. Time BEN FOLDS (Songs for Silverman - 2005)

11. Cry a While BOB DYLAN (Love And Theft - 2001)

12. Come September NATALIE IMBRUGLIA (White Lillies Island - 2001)

13. End o' the Line YOU AM I (Dress Me Slowly - 2001)

14. Sgt. Major JET (Get Born - 2003)

15. You Can Broke a Beautiful Thing PAUL KELLY (Ways & Means - 2004)

16. Tell Me Baby RED HOT CHILI PEPPERS (Stadium Arcadium - 2006)

17. O Children NICK CAVE & THE BAD SEEDS (Abattoir Blues/The Lyre of Orpheus - 2004)

Interestingly, nothing from 2008, and quite a bit of Australian stuff. Only one female artist, which I'll keep in mind for next time. I think this concept might lend itself to more compilations and playlists. I also believe this will work better as CD than a playlist. The 76min running time will mean it will fit perfectly! If you're keen to have a listen, check it out by clicking here. 

Auschwitz

I’ve been incredibly moved by the 80th anniversary of the liberation of the Auschwitz concentration camp. I can’t believe these events actually happened. We’ve seen films about it, watched documentaries about it, but there’s a weird sense of unreality about it. Seeing a Channel 7 reporter from Perth talking about the horrific events from the actual barbed wire fence in Auschwitz was quite grounding. I thought I could see tears in Ben Downey’s eyes as well. I imagine actually being in that place would be very unsettling. There would be something in the air. In the ground. In the wire.

Train car - symbol of the event (auschwitz.org)

My family and I visited Port Arthur in 2014, and when we were at the site of the old cafe, we felt a shift in mood. There was a palpable feeling of dread that we all felt. It was like the tragic events had sunk into the very soil that surrounded them, and I would imagine, Auschwitz would have that same kind of feel, but significantly magnified.

A 97-year-old Australian woman shared her experiences as survivor of the camp when she was fourteen. Yvonne Engelman's story is well worth reading, but I grapple with the fact that these events actually took place. What those people went through, and how undignified their deaths were. How badly they were treated. How they were seen as less than human. How their lives were worth less than others. It is truly horrifying, and the older I get, the more my emotions about those occurrences intensify. 

I recently watched two films which painted pictures of frightening indifference. Both 2008's The Boy in the Striped Pyjamas and 2023's The Zone of Interest depicted a German family living in a house next to Auschwitz, with the family patriarch being charged with the running of the camp. 

What gives this anniversary such weight, is that it is possibly the last time the liberation of Auschwitz will be marked with survivors. On January 27th this year, 56 people who had managed to leave the camp returned, and met in front of the death gate. Eighty years on, those who survived that terrifying place are slowly passing. It was encouraging to see so many world leaders attend the memorial event. One wonders if those tragic events are slipping from the public consciousness. 

It's very disturbing seeing the rise of antisemitic graffiti and vandalism in Australia at the moment. Even Perth had some horrible instances in recent. No doubt the strife and war occurring in the Gaza strip is also fueling some of the hatred seeping into the community. There is a police theory that these hate crimes are being funded by overseas syndicates with Neo-Nazi interests. As the ceasefires in Gaza tentatively leads to the release of prisoners on both sides, hopefully peace will come to the area. 

I've never understood the persecution of Jewish people. The hatred they inspire in bigots. The fear of 'letting them take over the world'. People going on rants that they're the biggest evil that exists. I don't understand. I don't get the vitriol directed to this community and I hope we all move forward as more harmonious world. The intolerance for other cultures and beliefs stupefies me. Australia, for one, wouldn't be the country it is without the diverse range of people and ethnicities populating it. 

Be kind to one another. That's it. 

Don't herd up people into camps and kill them. Don't invade other countries. Don't shoot people. Don't cause harm to another soul. 

A Day in Middle-earth

It was about halfway through December last year when I was struck by a most excellent way to spend Boxing Day. I offered up the idea of watching all three Lord of the Rings movies to Rhones, and she was quite enthusiastic about taking the plunge. Not only would we watch all three, we would watch the extended editions. It was written.

I might caution any readers who have not yet watched the films (really?) with SPOILER ALERT!! Some plot points and stuff may come up. I'm not sure which yet, because I've just started writing it. Let's press on!

After the stress and build-up of Christmas, it was something for us both to really look forward to. When the day arrived, we got up at a fairly decent hour and readied ourselves on the couch. The Fellowship of the Ring began at around 9:40am. 

Once the screen went black and Cate Blanchett's voice ushered in the start of the film, we were transfixed. It had been so long since we watched these movies that it felt like a kind of homecoming. When you're introduced to The Shire and the hobbits, and Howard Shore's wonderful score, it's like a breath of fresh air. Similar to taking in a waterside view of a Studio Ghibli movie. There's a nice comfort to be had.

There's quite a few scenes that provide an explanation or exposition for an event or moment in all three films that were cut for the theatrical releases. It's hard to watch those now, as so much is lost. This does make for quite a gruelling viewing experience though. Check out the running times:

1. Fellowship of the Ring - 228 min (3 hr 48 min) - 50 min extra

2. The Two Towers - 235 min (3 hr 55 min) - 56 min extra

3. The Return of the King - 263 min (4 hr 23 min) - 62 min extra

So, yeah, we have three more hours to digest by watching the extended cuts. We have watched them all on separate days, but this was our first all-in-one-day attempt. I have a big soft spot for Fellowship.. as it's the one that I've watched the most often. We quote a lot from it too: "Great! We are we going?", "Nobody tosses a dwarf!", "What about second breakfast?", and of course, "You shall not pass!".

Being the first immersion into the world of Tolkien, it's so captivating. I'm quite surprised it didn't get more award nominations when it was released. I think Return.. got all the nods as a way of rewarding the whole trilogy. From the lovely green fields of Hobbiton to the fiery despair of Mordor to the breathtaking beauty of Rivendell, the first installment is a feast for the eyes, ears and soul. 

The first part ends at an excellent moment as well. Oh yes, we went old school and watched the DVDs. No streaming for us! Actually, I'm unsure if you can stream the extended editions. It would have been better to have the Blu-rays, but you do what you can. The DVDs were still very watchable. Anyway, just as the fellowship is proclaimed and Elrond announces it to be so, Pippin utters his immortal "Great! We are we going?". Perfect. Fade to black. The movie continues on disc two.

That was the perfect time to get a spot of lunch together and the feed the teenagers who were hiding in their bedrooms. You've spent two hours watching Fellowship.. and you're just over halfway, but it doesn't feel like it has been that long. The movie rockets along nicely, and once the fellowship leave Rivendell, things get really interesting.

I'm quite disappointed that I've forgotten what we had for lunch on Boxing Day, but with the meal prepared, we put in the second disc and kept watching. After it reached its conclusion, we started The Two Towers and popped a bottle of bubbly. Because, why not? It was a day of relaxing, enjoying each other's company and spending time in Middle-earth.

The Battle for Helm's Deep remains one of the best cinematic experiences of this century. The other battles in The Return of the King are a bit harder to follow, and they occur so close to each other. Helm's Deep is a fitting conclusion to the second movie, paired with Saruman's downfall at Isengard, you're left with hope that the good guys are making headway! Unlike, say, The Empire Strikes Back, which left viewers a little unsure of the future of the rebellion. The decision to merge Sam and Frodo's journey with the fates of the remaining Fellowship characters is brilliant. If you haven't read The Two Towers, the first half (Book III) deals solely with Aragorn, Legolas and Gimli in pursuit of the Uruk-hai (ultra evil Orcs) who have kidnapped Pippen and Merry, and the resulting plots of each character, including the resurrection of Gandalf. Book IV is just about The Ring's journey and how Sam and Frodo connect with Gollum. It is much more cinematic, I feel, than keeping the books separate. 

After The Two Towers credits began rolling, we felt it was time to get the kids some dinner and take a break from our viewing. I can't remember what that meal was now either, but we all watched Bob's Burgers (I think) while we ate. 

Rhones and I both showered and got into our pyjamas, and the kids returned to their rooms, he he he. I reckon the final movie of the trilogy commenced around 8pm. Now, it's a long movie at the best of times, but as I mentioned earlier, the extended edition of The Return of the King nearly hits four and a half hours! That running time could also be spent watching three 90min movies! 

Having said that, it doesn't feel like four and a half hours. Once the first disc stopped, with an awful cut revealing Sauron's army's flaming wolf battering-ram thing, I was shocked to see that we were almost up to the three hour mark! There are multiple plot lines going at once, and you get quite invested in it all. Well, I do anyway. 

We loaded in the sixth and ultimate disc and settled in for the last moments of The Lord of the Rings. It had been quite the marathon, but we had enjoyed it immensely. It was an amazing experience to watch them all in one sitting. Maybe a new tradition has been created? He he he..

I feel that this trilogy has some of the most amazing casting we've seen in modern cinema. Even down to some of the extras, or actors with minor parts, everyone is pitch perfect. It's wonderful seeing them inhabit their characters, and to wait in anticipation of our favourite scenes and moments. The trilogy is an amazing achievement in cinematic history, the likes of which we had not seen before, and probably won't see again.

★ (Blackstar)

My final Bowie blog, is fittingly, the last studio album he released in his lifetime, which came out nine years ago today on his 69th birthday. He would have turned 78, if he were still with us. Nearly a decade on, and I can still vividly remember this album coming out. Several media outlets promoted the release by posting a picture of him, dressed in a snazzy suit and hat. It would become the last known photo of Bowie before his passing.

The pic wasn't snapped on his actual birthday, but it was released the same day to publicise his new record, simply named ★, or Blackstar. I remember rushing down to JB Hi-Fi to nab a copy on CD. I'd seen the pic on the socials, and was buoyed by how good he looked. 

It was an exciting period for Bowie fans after he dropped a new single on his birthday in 2013. It had been his first new music in about a decade, and the song Where Are We Now? was promoted as being from an upcoming album release. True to his word, his first studio album since September 2003, The Next Day, landed in March that year. With artwork that doctored the original "Heroes" record, and Tony Visconti back in the producer's chair, a new era of Bowie was being ushered in; and I was there for it!

Another new single came out at the end of 2014, Sue (Or in a Season of Crime), which tied in with the release of the excellent retrospective collection Nothing Has Changed. The end of 2015 saw another fresh single, Blackstar and yes, another new album was coming in January 2016. It was quite the ride from an artist who had barely surfaced since suffering a blocked heart artery in 2004, following a collapse on stage. So much new music in a short space of time!

I avoided the Blackstar song, and video clip, because I wanted to take it all in when the album was released. So, going back to that day, I can remember ripping the plastic off the CD and playing it in the car straight away. I got a few full listens in over the following day or two. I was excited for the change in direction, with all the avant garde jazz arrangements, and seemingly cryptic lyrics. What would Bowie do next? Such a buzz!

Then the news of his death broke, only two days after his birthday on January 10th. I remember being so confused, and so saddened. We all found out that he'd been fighting cancer, and suddenly, so many lyrics on Blackstar made total sense. The video clip to Lazarus took on a new resonance as well, because as his character was trying to write lyrics and songs, it mirrored his own struggle. He wanted to get another album out before his imminent death. 

It's been a few years since I listened to this record in full, and I was interested in how I would find it, nearly ten years on from his passing. It will always be hard to disassociate this album from losing Bowie. I decided to listen to all seven tracks in full, on both CD and vinyl, in one setting. 

The eerie title track kicks things off, with a run time of nearly ten minutes, hearkening back to his excellent Station to Station album, which opened the same way. It's actually two songs joined together, but they flow in and out of each other quite effortlessly. Once the Gregorian chorus gives way to Bowie's wonderful clear vocal singing "Something happened on the day he died," you are transported into a different mood. The unsettling first few minutes have a bizarre drum pattern and its minor key adds to the tension. The second piece is classic Bowie, with the distorted, repeated line "I'm a blackstar, I'm a blackstar" punctuating his melodic couplets. The song works it way into the chants and lyrics that opened it, with a clever segue that goes back and forth a couple of times, playing with the track's timing and syncopation. 

It's a big highlight of the album, and arguably, its best one. The accompanying clip features many disturbing images and callbacks to older Bowie songs, Space Oddity in particular. The sight of Bowie gyrating with his eyes bandaged, save for two small holes is almost as iconic as that of his clown in the Ashes to Ashes video or his patch-wearing rock pirate in Rebel Rebel. Seeing him dressed like a priest or some religious official, clutching a book (or bible) with the Blackstar on its cover is also quite stirring. I'm sure the more you watch the video, the more you will find in it. I haven't watched it for years.

The second track is the B-side of the aforementioned Sue single, 'Tis a Pity She Was a Whore. Whereas the initial releases of both songs favoured jazzier arrangements, the re-recorded versions on this record are almost industrial in feel, with thumping bass and booming drums. The single version of Sue is longer and feels more narrative than the one of this album, and I prefer both of those versions to the two tracks here. I'm not sure of why Bowie felt the need to re-record them. Maybe it was to give the album a more cohesive feel. Of the two tracks, I much prefer Sue, in either incarnation. As the narrator struggles with providing for the titular Sue, things descend into a dark tale of murder and madness. Quite unlike anything else in Bowie's canon, particularly in its original form.

Blackstar's second single and third track is Lazarus, a downbeat, but somehow hopeful elegiac song that gave us more hints than we realised. The opening lines are arguably the most poignant:

"Look up here, I'm in heaven/

I've got scars that can't be seen/

I've got drama, can't be stolen/

Everybody knows me now"

Far out. Right in the feels. It's quite a haunting brass line that repeats throughout the track. It's almost like a lullaby, but with a hint of menace or fear. Who knows how Bowie was really coming to terms with his mortality, but to use his death for his art is truly an amazing feat. Of all the moments on this album that say goodbye to his fans, this is probably the most poignant. However, there is a puzzling lyric about "looking for your ass" though. Not sure what that's about. As Bowie sings he'll be free like a bluebird, you can only assume he's singing about leaving this life. The title refers to the biblical character who rose from the dead four days after he passed away, when his tomb was visited by Jesus. This miracle was one of the reasons that led to Jesus' eventual crucifixion. Not sure how Bowie's narrative fits in with those events, but the interpretations are endless.  

The fifth track on the record is another favourite of mine, Girl Loves Me. Using some of the Nadsat vernacular popularised in Anthony Burgess' A Clockwork Orange novel, and the 1971 movie, this track's lyrics are almost nonsensical. It doesn't stop the song being relatable, particularly the repeated line "Where the fuck did Monday go?". Again, there's a menace or some sort of malevolence permeating the mood of the track, and the Nasdat terms just add to that: 

"Devotchka watch her garbles/
Spatchko at the rozz-shop/
Split a ded from his deng deng/

Viddy viddy at the cheena"

Yeah, not sure what's being sung about here, but I like it. He he he... the next song Dollar Days, is one of the weaker tracks here, for mine. It's a softer feel in tone and emotion, and expresses Bowie's struggle with what time he has left. Bizarrely, even though it isn't as melancholic or dark as other tracks on this album, it feels more depressing than any of them. 

I think the record's final track, I Can't Give Everything Away, is a goodbye, but also a tale of celebrity expectations. As social media continued to make it easier to interact with famous people, the demands for those interactions increased. It wasn't enough to snap a selfie or wave hello anymore. People wanted to know the celebrity and have a conversation, possibly even become friends in extreme cases. Bowie addresses this nicely within a verse:

"Seeing more and feeling less/

Saying no but meaning yes/

That is all I ever meant/

That's the message that I sent"

There's only so much you can give to the public. You have to keep something for yourself. I love hearing Bowie's son Duncan Jones talk about how much of a dag he was at home, and away from the stage. He would goof around like any other dad and regularly had his head in a book. That was his private side; it was only for a select few.

If that harmonica line sounds familiar, it's because it was lifted from Low's closing track of its first side, A New Life in a New Town. That could be taken as another hint to what Bowie was facing as he recorded this album. It's a tough listen at times, but it's such a different offering from the man. I think it's unlike anything he's released, from an album point of view. It has moments of echoing older records, but it's something quite extraordinary. I give it 4/5, me. It's up there with the best.

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