The One Album I Listened to in 2005

 

2005. What was that about? The only album I can remember buying that year was Paul McCartney's "Chaos and Creation in the Backyard." I haven't bought a Paul album since the 1970s, but I was pulled in by the album's title as well as the front cover photo by Mike McGear, Paul's brother. I think Mike was (or is) a remarkable photographer at the time, and his images of his brother, as well as the other members of the Fab Four, are

classics.

Not only is this my favorite Paul album, but a total surprise that he came up with something special in the 21st-century. It's mostly Paul by himself, with some extra musicians, such as Joby Talbot, who worked with the arrangements for The Divine Comedy, and that aesthetic comes through on the recordings. It's a shame that Paul didn't work with Neil Hannon, because I think those two would make some sonic magic. Nevertheless, the decision to have Nigel Godrich behind the production was an excellent choice. Rumors are that he really pushed Paul on the writing as well as his lyrics. The album has all the classic Paul touches, but as an older man, he reflects in an interesting manner on his life through these songs. Therefore, it matches perfectly with the front cover. Paul as a very young man, or teenager, with a guitar in his backyard somewhere in Liverpool. A remarkable album. What's sad is that there were other things happening that were new musically, but I somehow missed the boat. I regret that I wasn't into Sunn(((O.

Albums That Were Important to Tosh in 1994

 

1994, I think I left Beyond Baroque and started to work full-time at Book Soup. And I stayed there until 2012. Having Tower Records across the street from the store got me into the music world again. I'm still buying reissues of Gainsbourg and started to obtain a strong Boris Vian fixation. Still, it was British music that made an impression on me. Portishead, I think, similarly hit everyone: DJ-related, Noir sounds, and bluesy, with a strong movie soundtrack feel. I loved their sound and the sense of a dreamy landscape in front of me. Pulp was another discovery that year. "His 'N' Hers" captured that kitchen sink feeling of British literature, cinema, and theater. Jarvis Cocker and company had such a strong character that comes through their music. I also loved the painted cover portrait of the band. Frank Black's second solo album, "Teenager of the Year" (I love that title), I think, is a remarkable work. I think it has 23 short songs, and all of them had great depth for me. Divine Comedy returns with an album with a great song, "The Booklovers," which lists every author and just a remarkable piece of baroque-pop. I was impressed with Morrissey's "Vauxhall and I," which is a remarkable piece of work from the grump king. If you look back on 1994, I think most contemporary music lovers will find something totally satisfying—a strong music year.

The Albums That Were Important To Tosh in 1993

 

The albums I purchased in 1993 were all familiar to me, such as Bowie and Frank Black (Pixies), except for Suede and The Divine Comedy. At the time, I actually preferred the Frank Black solo albums to his albums with Pixies. And Bowie's "Black Tie, White Noise, I thought was a great comeback for the presence and music of this brilliant artist. Many feel this album is not up there with other Bowie classics, but I loved this album when it came out. I also liked "The Buddha of Suburbia" soundtrack album by David. He was hungry to make new music.

I was most impressed with Suede for their graphics and photos of the band. A good-looking band goes far in my book, and I appreciated their retro-glam via the "Diamond Dogs" approach to their music. With an additional mixture of JG. Ballard as well. The Divine Comedy is book smart, and to me, they convey literature as music. The UK to the core, I loved their approach in making music to read books by. The compilation I listened to the most that year was Prince's "The Hits/B-Sides." Especially the B-Sides. All were magnificent.