Isn't Anything - My Bloody Valentine (Creation, 1988)
The depth at which I love My Bloody Valentine has been sort of a delayed reaction for me. I liked 1991's Loveless for the most part the first couple of times I listened to it, but, it took quite a few years for me to develop the level of appreciation I have for it now. I can't say the same for their 1988 debut LP, Isn't Anything, which I was extremely attracted to right away. I spent a teensy bit of time with it a couple years back as well as last summer, but, have really dug in very recently. It has its slightly difficult moments: The aimless ambiance of "No More Sorry" and "All I Need" isn't for everyone, but, with enough time, you catch on to the excellent melodies buried underneath the mess. "No More Sorry" in particular sounds like a gorgeous, haunting score to a film's darkest moment. Isn't Anything is loaded with straight-up jams, though. "Soft as Snow (But Warm Inside)" was the first song from it that I loved (also, I am so into the laughably long drum + bass guitar fills), but lately, the clangy chords of "Sueisfine" and bouncier progression of "I Can See It (But I Can't Feel It)" have been my preferred MBV outlet. I've come across a lot of really good shoegaze music over the past couple of years, but, when they're at their best, these dudes and dudettes are virtually untouchable.
Top jams: "Soft as Snow (But Warm Inside)," "Lose My Breath," "Cupid Come," "(When You Wake) You're Still in a Dream," "No More Sorry," "All I Need," "Sueisfine," "I Can See It (But I Can't Feel It)"
The Wild Heart - Stevie Nicks (Modern, 1983)
Surprise, surprise: Another excellent solo effort from a member of Fleetwood Mac. For some reason, I was somewhat skeptical of Stevie Nicks' sophomore record, The Wild Heart. But, of course, it totally rules. I mean, it basically sounds like the songs she sang on Mac records, minus that epic Lindsey Buckingham guitar work. The opener/title track and "Enchanted" are fantastic pop jams in the vein of the Mac's 1975 self-titled album, and, actually, the beautiful sort-of-ballad "Nightbird" has that feel too. My personal favorite song at the moment, "Sable on Blonde," sounds like Nicks' take on "Dreams" from Rumours, with a different backing band. In comparison to Buckingham's Law and Order, The Wild Heart is less awkward, anxious, upbeat and zany; it is a smoother, more serious affair, thus, I don't think I love it quite as much. Still, Stevie and collaborators pretty much nailed it on ever one of these songs, and I'm really glad this album ended up clicking for me.
Top jams: "Wild Heart," "If Anyone Falls," "Gate and Garden," "Enchanted," "Nightbird," "I Will Run to You," "Sable on Blonde"
Eureka - Jim O'Rourke (Drag City, 1999)
Don't let the disturbing image on the album cover turn you away. Jim O'Rourke is a master at crafting gorgeous, mellow and weird guitar music, and 1999's Eureka is a prime example of this. Opener "Prelude to 110 or 220/Woman of the World" and follow-up "Ghost Ship in a Storm" are wonderful, noodly chamber-folk songs just dripping with fall vibes. Then, things get very Burt Bacharach-y. "Through the Night Softly" and "Something Big" in particular showcase some Bacharach-style strings, chord progressions and backing vocals. This may be a turn-off to some, but, I'm into it. Eureka is yet to hit me in the way that O'Rourke's 2001 follow-up Insignificance has (and, they are two very different records), but, I'm glad I've spent time with this lately.
Top jams: "Prelude to 110 or 220/Woman of the World," "Ghost Ship in a Storm," "Through the Night Softly," "Please Patronize Our Sponsors," "Something Big"
