David Bowie - Changesbowie

Probably the Best Compilation of this Musical Icon

I’m not sure if I share the following sentiment with the rest of my generation, but for some reason, I think I do. My first memories of David Bowie, the English Singer, Songwriter and Actor were when I saw him sing silly Christmas carols and even more sillier duets with the likes of Mick Jagger on MTV. For a long time, I always used to think he existed as a pretentious mainstream pop poseur for the older generation. 

Not until years later at the age of about 17, when I first heard "Changesbowie," a compilation of Bowie’s most notable work that was released in 1990, did I realize that Bowie had several incarnations prior to his 80’s self, some of which were downright brilliant and I felt like a fool not realizing this sooner.

Bowie was a legitimate fusion forerunner and probably the most enigmatic, unpredictable performer of his generation. And "Changesowie" is testimony because it includes pieces of punk, folk, jazz, straight blues, and most frequently, pure rock n roll. Listening to the album now, one can hear the origins of musicians as wide-ranging as the Talking Heads, Nirvana, Pavement, Beck, and even industrial rockers Nine Inch Nails. 

The music is mostly guitar chargedguitar-charged but in a variety of ways. On some tracks, like "Suffragette City," and "Ziggy Stardust," Bowie plays in fantastically pure punk and rock forms, respectively. On other tracks, like "Space Oddity," the Microsoft-adopted "Heroes (one of my favs)," and "Ashes to Ashes," he uses distorted guitar sounds with keyboards to create a new rock standard. Such sounds have become the mainstays of artists like Beck and Trent Reznor. 

In the days since my discovery of "Changesbowie," I have valued it as a musical foundation and pioneering piece of music. In fact, if you pay close attention, almost all pop music in the 90’s can be traced to or related through Bowie. 

Appropriately, the song "Changes" also provided authority-challenging youth one of their most poignant quotes: 

"And these children that you spit on 

As they try to change their worlds 

Are immune to your consultations. 

They’re quite aware what they’re going through.". 

If you never heard this album and in the mood for some Bowie magic, hear it now on Spotify. 

Radiohead - Kid A (2000)

The weirdest Alt rock album to ever sell a million copies 

The English rock band Radiohead’s fourth studio album, the radically different Kid A severely divided critics when it was released, some ruing that it probably would not sell many copies. Cant blame them too much because this is indeed a challenging, often downright confusing piece of music that will leave even ardent Radiohead fans scratching their heads. The trademark guitar bits are few and far between, there are large chunks of experimental avantgarde orchestration, the vocals are often ambient & distorted, and the songs rely more upon mood and rhythm than actual melody. No wonder Radiohead chose not release a single from this album – there simply aren’t any either
. 

But while Kid A is a difficult record, it is also an extremely rewarding one. In fact, it is a reason why Kid A is still remembered as the best album of the year 2000 and a deserving winner of a Grammy award for the Best Alternative Album. One could say, no other album released in 2000 even came close to matching the daring and complex artistic vision that Radiohead brought to life with Kid A. While evidently a giant leap away from Radiohead’s early guitar-based brand of rock and roll, Kid A was as big a leap from 1997's OK Computer as OK Computer was from 1995's The Bends. At the time, OK Computer sounded like an exciting and entirely new direction for modern music. Instead, we now realize that Radiohead was just taking a small step forward with that release. 

On Kid A's hypnotic opener, “Everything in its Right Place,” lead singer Thom Yorke repeats the song’s title as a mantra. This song could be about our search for order in a society that is beginning to lack any semblance of order – a time when nothing was/is really in its right place. Even as Yorke sings, his own vocals are repeated back to him backwards and distorted – out of place. Later, the heavy bass line of “The National Anthem” propels Yorke to new heights of angst and tension. The last three minutes of this track is a wonderfully chaotic piece of experimental jazz – horns wail, screech and collide to create a sheer wall of noise. 

Kid A then returns to earth with “How To Disappear Completely,” a song that features acoustic strumming coupled with a simple, wailing two-note echo. Heartbreaking in its beauty and simplicity, this track ranks right up there with Radiohead’s best work yet. Yorke’s high-pitched vocals perfectly complement the other instruments as the song enters an achingly moving rhythm. 

While there’s technically not a “single” from Kid A, “Optimistic” was the first song sent to radio stations and has been called the “target track” by some of the band’s publicity. This claustrophobic-sounding track finds Yorke singing, “You can try the best you can/ The best you can is good enough.” Later, “Idioteque” opens with an electronic drum rhythm followed by a wash of keyboards. Yorke repeats the line, “Ice age coming” with a growing intensity as the track progresses. This psychotic episode is similar in form to OK Computer’s “Climbing Up the Walls.” Kid A closes with “Motion Picture Soundtrack,” an epic, plaintive ballad with Yorke singing, “I think you’re crazy/ Maybe.” 

Fifty years from now, young bands will still be inspired by the music Radiohead has created on albums such as The Bends, OK Computer and Kid A. With these three albums, Radiohead established themselves as one of the most important and most creative bands of the 90s/2000 era. So even if Kid A didn't please all critics, you can be rest assured that people will still be listening in the future to Kid A long after most of those other bands have long gone. As a matter of fact, it still ranked 67 on its Rolling Stone list of the 500 greatest albums of all time.

Pulp - Different Class (1995)

A superlative album for lovers of authentic Britpop !

Even though the English alternative Britpop band Pulp was around for over fifteen years when this hit album was released (in 1995 in England and 1996 in the United States and beyond), they never made much of a ripple outside of the United Kingdom, their home base. This Mercury prize winning, platinum ranked, fifth studio album Different Class, however, changed it all making them popular all over Europe, the US, Australia and even Japan marking a revival of sorts in the Britpop genre. NME magazine went as far as to rank it as one of the 500 Albums of all time, a distinction it still holds at number 6. 

The success of Different Class is understandable. This album does have a different flavour compared to all their previous releases and also the other brit albums of those years. A significant mention is that Different Class has a more potent lyrical content than any brit album of the 90s, with vocalist Jarvis Cocker's songs about longing, contempt and jealousy bringing to mind a younger Leonard Cohen. 

On the opening track, "Mis-Shapes," Cocker declares war on the filthy-rich upper class ("We'll use the one thing we've got more of -- that's our minds"). Over the course of Different Class, Cocker and Pulp put their minds where their mouths are. On "Common People," Cocker plays a poor man approached by a rich young girl who tells him, "I want to live like common people." The man gives in at first, but then tells the girl that she will never be common because, "when you're laid in bed at night watching roaches climb the wall/ if you called your dad he could stop it all." In the end, the man understands the girl's wish to be a commoner ("You are amazed that they exist and they burn so bright whilst you can only wonder why"). 

On "I Spy," Cocker plays the part of an adulterer ("I've been sleeping with your wife for the past 16 weeks/ smoking your cigarettes/ drinking your brandy/ messing up the bed that you chose together"). The reason for the man's interest in the affair isn't love or sex, but revenge. He even hopes to get caught in the act, just to ruin the husband's life. 

Next, "Disco 2000" tackles the subject of heartfelt longing as well as any song ever has. On this track, Cocker tells the tale of two children born the same day: the boy grows up to be a misfit and the girl becomes Ms. Popular. The misfit describes his longing for the girl and the pain he felt as a teenager watching "others try and get you undressed. Different Class reads like a novel, with the songs written here about so far only bringing you up to the fifth track! You may consider some of the music is average 90s Brit-pop material, but Cocker's lyrics lift every song up to the next level. 

When the music is as on target as the lyrics, such as on "Disco 2000" and "Common People," Pulp strikes a deep nerve. With this album, Jarvis Cocker and Pulp make an album that is truly in a class by itself, especially if you are a lover of authentic British britpop/britrock!