Twenty-six dollars in my hand - up to Lexington, 125

Continuing my trip up Rolling Stone's list of the 500 Greatest Albums Of All Time...

...OK - after some deliberation and some forward planning (for a change), I've reverted to the two-album write-up, despite the first album taking up quite some space.  I'd not heard either of these albums beforehand and my initial thoughts were that Biggie would take the round by being less obviously annoying than The Velvet Underground who, I think it's fair to say, I've struggled with on this list so far.

#23 : The Velvet Underground And Nico - The Velvet Underground And Nico (1967)

“We were trying to do a Phil Spector thing with as few instruments as possible,” John Cale, the classically trained pianist and viola player of the Velvet Underground, once said of this record. It was no idle boast. Much of what we take for granted in rock would not exist without this New York band or its seminal debut: the androgynous sexuality of glitter, punk’s raw noir, the blackened-riff howl of grunge and noise rock. It is a record of fearless breadth and lyrical depth. Singer-songwriter Lou Reed documented carnal desire and drug addiction with a pop wisdom he learned as a song-factory composer for Pickwick Records. Cale introduced the power of pulse and drone (from his work in early minimalism); guitarist Sterling Morrison and drummer Maureen Tucker played with tribal force; Nico, a German vocalist briefly added to the band by manager Andy Warhol, brought an icy femininity to the heated ennui in Reed’s songs. Rejected as nihilistic by the love crowd in 1967, the Banana Album (so named for its Warhol-designed cover), is the most prophetic rock album ever made.

Right - our fourth (and final) visit with The Velvet Underground and, in case I hadn't made my feelings clear so far, I HAVE NOT enjoyed any of their efforts so far.  Would Nico's presence improve matters or make things even worse?  Ooooh - the anticipation...

Well, well, well - in a turn up for the books, this album is not all absolutely shite.  Wonders will never cease!  However, I wouldn't go as far as to say I actually liked the album - but I did like one or two of the songs (no, I don't know what I was thinking either).  And even some of the ones I didn't like had one or two interesting sounds, rhythms or vocals on them which meant I actually listened to them.  However, whilst listening to the album for the second time, I realised that a fair amount of the appreciation came from the various cover versions I'd heard over the years - without ever having heard the originals.  Which OBVIOUSLY took me off down several very pleasant cover version rabbit holes, so it's important we have a track-by-track breakdown to discuss my opinions of the originals and various cover versions.

1. "Sunday Morning"
This is actually not too terrible a song, so by the Velvets' standards it's an absolute masterpiece - it's surprisingly jangly, and I never mind a bit of jangle (although the start does sound suspiciously like a nursery rhyme).  I knew I recognised it from a cover but couldn't remember who it was by - obviously it was the Strawberry Switchblade version.  The internet points me at a million other versions - the OMD and James versions aren't too bad and although it feels like a song which must have some dreadful versions out there, none jumped out at me.
2. "Waiting For The Man"
I actually like this song - it's surprisingly normal and I'd even heard their version (the bit of it that's on the 2ManyDJs album anyway), but I'm more familiar with Iggy's version (for some particularly unclear reason).  I wasn't aware (but wasn't in the slightest bit surprised) that Bowie has done a version - I also wasn't aware that Vanessa Paradis has done a version, but I wasn't feeling brave enough to go there.
3. "Femme Fatale"
Another song I was previously aware of through the fine R.E.M. version on Dead Letter Office - I thought the original was OK, but I'm not convinced Nico adds the level of mysticism they were hoping for.  This is an extensively covered song - the Pulp and Tracey Thorn versions sound exactly like you'd expect them to, but the Duran Duran version is definitely best avoided.
4. "Venus In Furs"
The first song I've not recognised from a cover version (and there are quite a lot out there, but very few by anyone I've ever heard of).  It's quite a challenging song in places, but overall I didn't mind it.
5. "Run Run Run"
My in-listen notes merely say "hmmm" and I don't remember anything about it except for someone going "Run Run Run", so it's probably best to keep things that way.
6. "All Tomorrows Parties"
I quite like this and it's surprisingly goth when you consider how old it is.  It did not surprise me in the slightest that Siouxsie has attacked this in her time but the best version (for me, if probably not for many Velvet Underground fans) is the Japan version.  I couldn't decide whether the Simple Minds or Bryan Ferry versions are the worst though - both should be approached with care.
7. "Heroin"
It's quite an unstructured song, but it's an interesting lack of structure nonetheless.  Billy Idol has done the best known cover of this and there's no danger of me listening to that (I still shudder every time I remember him in The Wedding Singer).
8. "There She Goes Again"
Another one I prefer the R.E.M. cover version of, but the original is also fine.  Every other cover version out there is by someone I've literally never heard of, so I decided I was fine not listening to them.
9. "I'll Be Your Mirror"
Amazingly, I thought this was a bit bland.  I'm not complaining as such - but blandness was the last thing I was expecting from this album.
10. "The Black Angel's Death Song"
Ah - there they are.  The Velvet Underground I know and hate have arrived - this song has not been so well covered.  Apparently Morrissey chose this as one of his songs on Desert Island Discs - that man really doesn't like himself.
11. "European Son"
Annnnd - there they are again.  And they were doing so well as well.  Thurston Moore (from Sonic Youth) has covered this, but there's no danger of me ever listening to it.

But, despite the unfortunate ending, overall I was pleased to listen to this album (another staple of the Our Price bargain bins during my youth) and I found it to be surprisingly enjoyable.  I somehow suspect "surprisingly enjoyable" is not going to be view reported in Wikipedia though.

The album's entry is actually quite interesting on several fronts.  Andy Warhol's high profile and credit as producer appears entirely down to his ability to self-promote - he paid for the sessions and drew a banana but that was about it.  The first copies of the album had a banana sticker on them which you could peel back to reveal a "naked" flesh coloured banana - obviously they took loads of time and money to produce, but they reckoned that Warhol's name would recoup the costs (bad decision!).  They also struggled to find a record company to distribute it - one specifically objected to the album's subject material (which you can understand) and another specifically objected to John Cale playing the viola (which seems a somewhat stranger reason).  

When it did come out, the critics and public pretty much ignored it (the highest it's ever been in the US album charts is #129, but it has hit the dizzy heights of #43 in the UK) - but, of course, they all agree that it's great and super-influential now.  Let's leave the last word to the very wise Brian Eno - "In 1982, musician Brian Eno stated that while the album only sold approximately 30,000 copies in its first five years, "everyone who bought one of those 30,000 copies started a band!"", which given the amazing number of cover versions I found by a wide range of artists strikes me as apt (if not in the slightest bit believable).

I'm not going to look at the group's Wikipedia - to be honest, I've had enough of them.  "Customers also listened to" Cream, Bob Dylan and The Kinks - which seem an "interesting" mix and not entirely expected.  But, as I said earlier, I found this to be surprisingly enjoyable - I'm sure Lou would have been very happy with such a rave review (except for the fact that Lou was never happy about anything).

#22 : Ready To Die - The Notorious B.I.G. (1994)

The Notorious B.I.G. spread the love the Brooklyn way on his classic debut, introducing us to the most immediately likable voice in hip-hop history. “I made the record for New York, but I want the world to hear it,” he said. Ready to Die executive producer Sean “Puffy” Combs, who’d read about the fledgling Brooklyn rapper in The Source magazine, pushed his new discovery to leaven the stick-up-kid self-mythologizing of “Machine Gun Funk” and “Gimme the Loot” with inviting party-up pop like “Big Poppa” and the ecstatically playful origin story “Juicy.”

But it was Biggie’s gift of gab, enormous personality, and sense of humor that made Ready to Die so wonderful — whether he was offering a 360-degree vision of the mean streets of Fort Greene on “Things Done Changed,” kicking it Bonnie and Clyde-style on “Me and My Bitch,” or delivering rags-to-riches brags like “Birthdays was the worst days/Now we sip champagne when we’re thirsty.” In the process, he changed rap forever. He ends the album with the dark prophecy of “Suicidal Thoughts.” As with Kurt Cobain, his tragic death while still in his twenties will always leave us wondering how far he might have gone.

Our second (and final) visit with Biggie and last time I found him better than average in terms of delivery, but not always enjoyable in terms of what he was delivering - and I had little cause to imagine this would change on this album.  And, basically, it doesn't.  This album has the considerable advantage of "only" being 70 minutes long, but apart from that I'd struggle to differentiate them (and I actually think this one has less obvious highlights).  The good news is that you're going to be spared a track-by-track breakdown (I'm not sure you need to hear my thoughts on "Fuck You (Interlude)").  It is a cool album cover though.

Anyone want to guess what Wikipedia has to say about the album?  "It has been ranked by many critics as one of the greatest hip hop albums, as well as one of the greatest albums of all time".  Sigh.  Apart from that, it has remarkably little to say other than that the critics and public loved it, but only really in the US - it didn't bother the charts in the UK at all.  His Wikipedia entry is an interesting read if you like that sort of thing, but it mostly leaves you with the feeling of "what a waste" - so much energy going into feuds and rivalries and all that.  Lighten up, people!

"Customers also listened to" all the people we've met on this list so far, most of whom I'm now thoroughly bored of.  I do feel Biggie had a better delivery than a lot of his contemporaries and some of the content is believably "real", but a lot of it also unnecessarily unpleasant, although for me this one was less unpleasant (and mercifully shorter) than last time, but lacked any obvious highlights.

Well, well, well - have the Velvets done enough to (finally) spring the surprise win.  I'd have to say Biggie didn't do himself any favours, but, although I didn't particularly like it, I actually think, credit where credit's due, a lot of their album is actually quite interesting and I don't anyone can argue with the claims of legacy (for a change).  So, yes - with words I never thought I'd type, I can announce that this round goes to The Velvet Underground (and Nico).

#25 - An album no-one's ever heard of
#21-20 - Apples and oranges