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Looking For Quacks In The Pavement

Month: September 2018

3WA 2018 #37: Thomas Dolby – Aliens Ate My Buick

I owe you all an apology. I just looked at the roster of the last handful of posts and realized, wow this has gotten grim and depressing. I am so, so sorry about that.

Let’s lighten things up. A lot.

What is it?

Aliens Ate My Buick is Thomas Dolby’s third studio record, released in 1988 with a resounding, undeserved, commercial thud.

How does it sound?

Karmann Ghia plates say “Sampler Mix”:

Why this pick?

Unless you’re a tech nerd of a particular stripe, mostly what you know Thomas Dolby for is that “Blinded Me With Science” song. He had other hit songs on the radio! Just, unless you’re already a fan of his, you probably can’t bring any to mind.

“Airhead,” from this record, is basically the last one.

And that’s a shame, because Aliens Ate My Buick is a record made by a guy who seems to want to break out in a lot of interesting directions with pop music. After this one he basically made quieter stuff, easy-listening pop songs, pleasant enough but not as engaging.

Not everything on this album works but even the failures are at least interesting. I think it’s worth a listen, and it’s a whole lot of fun.

Which songs are the highlights?

The album kicks off with a Robin Leach (the “Lifestyles of the Rich and Famous” guy) voice-over at the start of “The Key To Her Ferrari,” which is a ridiculously fun romp that I try not to think about the lyrics too much of. After that comes “Airhead,” the best of the radio-oriented pop songs on offer here.

Late on the album is the deliciously groovy “The Ability To Swing” followed by the sprawling, moody eight-minutes-and-some-odd of “Budapest By Blimp.”

Which songs don’t work so well?

“Hot Sauce” was another of the singles from the record, and it’s not nearly as fun as “Airhead” nor does it age particularly well.

The album’s finale is “May The Cube Be With You,” which I can take or leave depending on mood. (Usually I leave it, though.)

Which album did you almost pick in favor of this one?

It was always going to be Aliens. I like Dolby’s first record, The Golden Age of Wireless, and that one has my all-time favorite of his songs (“One Of Our Submarines”) but it’s still a debut record and I still find Aliens much more interesting to examine.

Any final thoughts?

If you get into Dolby’s music and want something a bit out of the ordinary to add to your collection, grab the Gate To The Mind’s Eye soundtrack. The Mind’s Eye videos were VHS releases highlighting the cutting edge of computer-generated graphics. They look quaint as heck to us in the twenty-teens, but in the early 1990s they were super cool! (Really. Honest. Very very cool. Trust me.) I have two of the soundtracks, this one and its predecessor: Jan Hammer’s work for Beyond The Mind’s Eye. (I also recommend that one!)

I think we could use more upbeat pop music, don’t you? Let’s do that.

3WA 2018 #36: Stabbing Westward – Darkest Days

The last one was all because of a music video. This one’s all because of a girl.

What is it?

Darkest Days is the third album released by Stabbing Westward, another of those 1990s post-grunge angst-and-woe bands that made a bit of a splash for a brief moment. It’s a whopping 16 tracks long, most of the songs clocking in at close to three minutes.

How does it sound?

How can sampler mix be justified by you?

Why this pick?

I got into this band because of a girl. It was her favorite band at the time, and enough of it clicked with my tastes that I ended up buying several of the available albums at the time.

Let’s be honest, I could say that about several artists in my library, but… anyway. Moving along!

So why this record out of the three? Because it’s the best of the bunch. The album before this is quite good, the one afterward (the final release before the band’s breakup) is okay but doesn’t click with me very well, and for all that it’s supposedly a “concept album” I find Darkest Days to be the album where Stabbing Westward really brought it all together.

Let’s be clear, though: Like last week’s pick, there’s a very specific “angry mopey white dude” sound at play here. Mileage, it will definitely vary.

Which songs are the highlights?

The title track leads things off well, and sets the tone for the proceedings. And that tone is, generally speaking, “loud & angry.” Let’s be clear, this is mostly not a subtle piece of musical artwork. Generally well-crafted for what it is, mind you, otherwise I’d not be sitting here writing about it.

Darkest Days doesn’t really front-load the strongest songs, due to its attempted concept-album structure. This provides an interesting fringe benefit: The high points are scattered throughout, which I generally prefer to an album which one can simply turn off after the first four tunes. So a few songs after “Darkest Days” we get “Drugstore,” and a couple after that one there’s the best-known track on the record, “Save Yourself.” Shortly afterward is the album version of “Torn Apart,” a barn-burner of a tune that was collaboratively reworked (for the better) for the Spawn movie soundtrack. Toward the end we find “The Thing I Hate.”

My two absolute favorite tracks, though, are slightly downtempo: “Sometimes It Hurts” and the closing piece, “Waking Up Beside You.”

Which songs don’t work so well?

The album’s commitment to telling a story about a failed (sabotaged, actually) relationship leads to some grim clunkers in the mix: “How Can I Hold On,” and the hitting-rock-bottom depressing-as-heck trifecta of  “Drowning,” “Desperate Now,” and particularly “Goodbye.”

Concept albums are prone to weak tunes in the service of the story, I suppose. Pink Floyd fans might not particularly enjoy my opinions about large portions of The Wall

Which album did you almost pick in favor of this one?

Due to the generally-more-consistent quality over a shorter track count, I very nearly went with Wither Blister Burn + Peel instead. If the above sampler has you intrigued but the idea of a grim break-up-songs concept album turns you off, maybe give that album a try instead.

Any final thoughts?

At this point in my life, most of the songs of the type found on this and the previous album in this year’s project lineup don’t do much for me. I still enjoy enough of the tunes to merit at least a mild recommendation, however. Just… grain of salt, mileage varying, and so on.

And, boy howdy are a lot of these songs making super-unhealthy statements about how relationships work! Yegods. The older I get, the more I cringe at a lot of what little lyrical content actually latches onto my brain for processing.

 

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