Courtney Loves Kurt Cobain

Courtney Love is the widow of Kurt Cobain. She is also a musician. She was the lead singer of rock band Hole, then went solo in her first album 'Mono' in 2004. Love's album features sounds similar to those of her late husband. They all have elements of grunge rock in them, dirty sounding guitar, mixed with the minor, raspy vocals similar to Cobain's. However her song Mono, is more rock than grunge, featuring a steady bass chord structure and drum pattern. 

She has also been known to sing some of Nirvana's songs such as Penny Royal Tea, putting her own spin of grunge on the music. While the song is the same, the female vocals, and even more droned out sounds make the song completely different to the original.  

If you love Nirvana, give Courtney Love a try, while she does have her own style, you can see some elements of Cobain in her songs, making them well worth the time...

This YouTube clip shows photos of Love, Cobain and Nirvana, while Love's version of Penny Royal Tea provides a soundtrack.

Pink Floyd - The Division Bell (1994)

Album Review

Album Details

Highlights: High Hopes, Marooned, Poles Apart, Keep Talking

As of the beginning of the 1990s, Pink Floyd had been world leaders in invention and originality through their thirteen albums of pioneering Progressive rock. But with the coming of the new decade, the long and turbulent career of the Floyd looked close to over. Having reached their pinnacle midway through the 1970s, acrimony began splitting the group apart. Bass player, primary lyricist and some-time lead vocalist Roger Waters began exerting a dominating rule over all song writing and direction of the group. While this did produce still fruitful music such as their famed 1979 concept album The Wall[1], by 1985 Waters declared Pink Floyd defunct. Guitarist and now sole frontman David Gilmour revived the group, but after a less than impressive attempt to 'prove that they could get along without Roger'[2] in their1987 album, A Momentary Lapse Of Reason[3], and a troublesome world tour in 1988, Floyd fans welcomed the new decade with a sad hint of scepticism.

It was with much anticipation and joy that the announcement of another studio album to be released in 1994 came. The distinctly 80s sound of A Momentary Lapse Of Reason showed that even a band as creative and as withdrawn from conformist musical trends as the Floyd can’t avoid but to tap into the musical stylings of the time. This comes to fruition on The Division Bell. It has a distinctly 90s sound which makes it a rather interesting enigma within their catalogue, and something relevant to the broader scope of the decade.

The album opens with Cluster One, an ambient soundscape which as a Floyd fan, frustrates me because it is so clearly and obviously a cheap attempt at replicating the old dream-like Pink Floyd sound just for the sake of it. It lacks the true beauty of most of their ambient work, however it has a touch of very pretty piano and overall is perfectly pleasant.

Cluster One segues into What Do You Want From Me? This song is the pinnacle of the overt ‘90sness’ of the album. It is a fairly simple (for Pink Floyd) driving rock ballad of the 90s. There’s not much to note of the song really, only that David Gilmour’s songwriting is sufficiently mature through all of his experience, to make this a solid pop rocker.

The next two songs on the album are two of the very best. Poles Apart is for me the most underrated song on the album. It flows from characteristically beautiful work from Gilmour on the acoustic guitar and a compelling vocal melody, through a haunting circus-style middle section, and back. Marooned has the unlikely distinctly of providing Pink Floyd with their only Grammy award, for best Rock Instrumental. It is a beautiful dreamy palette of sounds for its first two minutes and although some rather out of place 90s drums interrupt the atmosphere somewhat, it remains a highlight throughout.

The rest of the album flows through a number of different styles. A Great Day For Freedom is a soft slow ballad which is pleasant but unassuming. Wearing The Inside Out is noteworthy only for being the first compositional and vocal contribution from keyboardist Richard Wright for over twenty years. Take It Back has a wonderful atmospheric intro but from then on is a pretty standard, if enjoyable, 80s reminiscent rocker. It segues fantastically into Coming Back To Life which shows the strength of Gilmour’s voice, but for the most part is a lowlight on the album. Keep Talking has an introduction very similar to Take It Back but from then on retains its intriguing atmospheres. It suffers from some distinctly 90s production values, but the combination of a weird and wonderful solo on a 'talk box'[4] and haunting spoken word parts from famous physicist Stephen Hawking preserve its value. The penultimate track Lost For Words is only really noteworthy for it’s disturbing similarity to Floyd classic Wish You Were Here.[5]

This run of all solid but no truly brilliant tracks leads appropriately to the album’s magnum opus High Hopes. Although perhaps not to the level of some of the band’s 70s classis, High Hopes is nevertheless a fantastic song, from its beautiful early ambience, complete with a ringing bell which adds a perfect texture to the song, to the lush piano and vocals of its verses, epic choruses, a soaring guitar solo to close the song, and a profoundly disturbing but thought provoking secret message at the very end. Overall, it is the clear standout.

The Division Bell pretty much received uniformly bad reviews on its release, and it’s distinctly 90s sound alienates a great many Floyd fans; however I find the album to be quite underrated. It is easily their best work since 1979’s The Wall and while the general lack of original substance does drag it down, it is still a highly enjoyable listen. The primary criticisms of the album are mostly founded only in the context of being a wider Pink Floyd fan. It is not an inventive masterpiece which will change the world and in the Floyd catalogue is surely on the lower end of the scale, but for any fan of 90s rock, The Division Bell should present an overall appeal.

Visit Pink Floyd's official website here.

Note: A real sign of the times and reflection of the burgeoning technology of the 90s was the 'Publius Enigma.' The Publius Enigma is a mysterious riddle in connection with The Division Bell which originated on the internet from an anonymous entity names 'Publius.' It claimed to present a riddle association with the album and offered a prize to anyone who solve the riddle. Fifteen years later it remains unsolved, and has been varified as geniune.

Read about the Publius Enigma here and here.

Try and solve the Enigma for yourself here.

The Pet Shop Boys: 'Very', Very Good

"As one producer put it concisely, the pop song is “a little three-minute novel,” in which reality and daydream merge in a sort of fairytale of love or of anonymous ambitions.” (1) And how could these fairytales be translated without lyrics? Lyrics are the cornerstone of any good pop or rock song. While the 90’s most famous lyrics may well be “MmmBop” and “Zig-eh-Ziga”, we shouldn’t give up on the decade as altogether senseless. If for no other reason than that the Pet Shops Boys (PSB) released four literally amazing albums in the 90’s. While lyrics can sometimes be inconsequential to a pop song, this has never been the case for the PSB. The lyrics have always been a key source of enjoyment from one of their albums. Take, for example, their best 90’s album, Very, which offers up lyrics which are witty, resonating and best of all, largely interpretational.

"Dreaming of the Queen" is certainly an example of this multiplicity of readings. On the surface it is, as the title implies, about a dream of visiting the Queen of England and Princess Di for a cup of tea. However, deeper inspection of the lyrics allow us to conceive the song as being about the toll that AIDS has taken on the gay community; rendering it a space where love has died: "There are no more lovers left alive/No one has survived.” This is one popular reading of the song, which pegs it as a gay text. Gregory Wood’s once said “A gay text is one which lends itself to the hypothesis of a gay reading, regardless of where the author's genitals were wont to keephouse.” (2) Under this definition, almost all PSB songs can be understood as gay texts. In fact, one of the most discussed elements of PSB lyrics are their queer sensibility and accessibility regardless of sexuality. For instance, many of their love songs will never refer to a ‘he’ or a ‘she’, instead addressing the object of affection just as ‘you’. This is just one way in which PSB liberate pop lyrics (which, let’s face it, are more times than not to do with love) for a queer audience.

Another diamond track from Very, is the snarky “Yesterday When I Was Mad”. It is a bombastic, energetic tune which, as the Rolling Stone review put it, makes clear that "the Boys have a few axes to grind." (3)

"Darling, you were wonderful, you really were quite good,

I enjoyed it, though of course, no-one understood.

They wondered what was going on, they didn't have a clue,

They didn't understand your sense of humour like I do.

"You're much to kind",

I smiled with murder on my mind."

The song expresses the irritation roused by critics, press and others in the music biz, who all have a back-handed complement or condescending remark to make. The verses serve up these insincere comments: “You have a certain quality, which really is unique/Expressionless, such irony, although your voice is weak,” which are reacted to with Neil’s biting chorus line: "I smiled, with murder on my mind." "Admitting I don't believe in anyone's sincerity, and that's what really got to me," implies a sense of jadedness; that the insincerity of some has detracted from the enjoyment of any accolade. This is pointed at as the main cause of his venting frustration. The songs closing lyric: "Then, when I was lonely, I thought again and changed my mind..." suggests that these ass-kissing falsities aren’t the worst fate. Better to have people clamouring around you with their barbed, fake complements than to stand alone. For tracks like “Yesterday When I Was Mad”, it is the lyrics which are the main attraction – the music plays a subservient role to the songs narrative.

My favourite lyric from Very comes from “Young Offender”, about an older gay man who still feels vibrant but no longer turns heads. In his mind he has a conversation with the young man he wants, but who doesn’t even see him. "How graceful your movements, how bitter your scorn/I've been a teenager since before you were born!" The song is really quite a poignant tale about the “anonymous ambition” to be young again, or better still, to be seen as young again. Of course it’s a sad state of affairs to become old and irrelevant, especially if you still feel like a teenager. It is one of my worst fears, which is probably why the lyrics of the song strike such a chord with me.

Through a brief three-track look at the PSB album, Very, we can appreciate how lyrics can invite, amuse or provoke thought in their respondents. It is the diversity of meaning in lyrics which makes Very an excellent 90’s album and one worth listening to again and again.

References

(1) Hennion, A. 1983. 'The Production of Success: An Antimusicology of a Pop Song'.Eds. Simon Frith and Andrew Goodwin. On Record . (1990) Routeledge Publishing. pg. 156.

Kylie Minogue: Impossible Princess, Possibly Brilliant

Crowned the “Princess of Pop”, Kylie Minogue is a character who doesn’t remain in the same vein of music for more than an album or two. Like Madonna, she is renowned for ceaselessly reinventing herself and exploring a new corner of the broad genre of “pop music”. The nineties saw her rise to stardom, her epic fall and her glittering comeback. Surprisingly it was her epic fall, the landmark album Impossible Princess, that I regard as her strongest nineties album.

Impossible Princess was the sixth studio album from the diva, but marked the first album she had full creative control over - contributing to all of the lyrics. While many critics commended its maturity and personal subject matter it was ultimately a commercial disappointment. It didn’t connect with the general public or with a large section of her fan base, who turned on Minogue for doing something they couldn’t instantly recognize as pop. Kylie was accused of ‘going indie’ and ‘losing her way’; and many thought this album, this reinvention, had sunk her career. There was a clear divide between those who loved the album and those who loathed it. I err on the side of loving it, and passionately.

The album is like nothing she had ever done, and unsurprisingly like nothing she has dared to do since. Impossible Princess had a number of standout tracks: from the frenetic I Don’t Need Anyone, the quirky Did It Again, to the deeply personal Dreams. Drunk proves an absolute gem of song and is another personal favorite. It could rival her old hits as a dance track but still maintains the slightly darker tone that distinguishes this album from her others. However the greatest highlight comes from Breathe, an intoxicatingly tranquil four and a half minutes which stands out not just amongst this album but amongst Kylie’s entire back catalogue. It’s important to recognize that all of these favorites are pop songs; only coming in the wake of straight-up pop anthems like Shocked, Better the Devil You Know and I Should Be So Lucky did they seem to many like something other than pop. Kylie herself had to struggle with this misconception about her album, saying: "I have to keep telling people that this isn't an indie-guitar album; I'm not about to pick up a guitar and rock." (1) Yet though it was one of Kylie’s most creative, consistent and personal ventures, it will frustratingly be remembered as the low-point of her career. Ironically, the largest criticism of her last album, X, was that it was impersonal and too eclectic – the tracks weren’t deep or cohesive.

With every next album, the Impossible Princess seems to be in a bit of a bind, unable to remain static, she constantly has to take a risk in updating her image and differentiating herself from her last look and the look of every other pop star. Marshall notes that: "Any style eventually loses its power to represent difference, as the marketplace continuously appropriates the idiosyncrasies of codes of style for commodity innovation. Thus, the popular music performer is also continuously appropriating new representations of individuality through style." (2) This fluidity is the predicament of many pop stars - the push and pull to be 'different' but essentially the same. It inevitably leads to a number of incarnations for any pop act – from “Schoolgirl Britney” to “Ringleader Britney”, or “Cowgirl Madonna” to “Geisha Madonna”. Every pop icon is in the position of striving for 'difference', but without ever becoming too different from what made them popular to begin with. This phenomenon was satirized in Kylie's music video for Did it Again (below). The video see’s the four incarnations of Kylie - “sex Kylie”, “cute Kylie”, “disco Kylie” and “indie Kylie” - battle it out for supremacy. And while we don’t see a clear winner, real life shows that it was “indie Kylie” who lost out.

For a while Minogue may have been dead, but she was never buried; and a committed return to pop with a pair of gold hot pants saw her rise from the ashes. For an artist often reputed as a shallow, style-over-substance pop act, it was a shame that her most different and brilliant nineties album was given such little praise.

Kylie Minogue: Breathe



Kylie: Did It Again

For more Kylie visit http://www.kylie.com/home

References

(2) Marshall, P.D. 1997. 'The Meanings of the Popular Music Celebrity: The Construction of Distinctive Authenticity'. Celebrity and Power: Fame in Contemporary Culture. University of Minneapolis. pg 162.

Nine Inch Nails - The Downward Spiral (1994)

Album Review

"I think by just saying it and bringing it to light, maybe it helps. I've been so depressed about things, and then I'll hear a song, and I'll think, "Fuck, I can relate to that. Someone else feels that way." In its own way it becomes enlightening, and I feel release. ... Even though what I'm saying appears negative, the release of it becomes a positive kind of experience, I think, and provides some catharsis to other people." [1]

Official Website - Album Website

The Downward Spiral is probably the most cathartic album I've heard, and certainly the most discomforting. From samples of screaming voices and the use of noise to the myriad production techniques that alter, distort or irritate, the music reflects the protagonist's spiral into suicide. Leitmotifs, both lyrical ("Nothing can stop me now") and musical (the "Downward Spiral" melody) add a layer of cohesion. The dynamics, both within songs and the album as a whole, seem precisely crafted for maximum impact.

Mr Self Destruct, which opens the album, is a musical punch in the face, guest guitarist Adrian Belew's guitar as close to the sound of a chainsaw as imaginable. It evokes images of dystopian worlds overrun with stainless steel killing machines. Right as you'd expect Trent Reznor (who is basically Nine Inch Nails) to kick it up a notch, everything goes quiet save for a lone bass line and the repeated phrase "You let me do this to you." This only serves to make the return to sonic assault so much more vicious by contrast.

This is followed by Piggy, "a light, swinging jazz song"[1] that features the first appearance of the famed "Downward Spiral" melody and Reznor's first and only attempt at drumming. The amateurism makes it more thrilling than a professional drum solo, and an early highlight of the album.

The intensity builds, climaxing with March of the Pigs, which juxtaposes an energetic, heavy verse with a quiet piano-based chorus. Closer, perhaps the most well-known song from the album, gives the listener a break from the loud abrasiveness of the previous songs, taking a somewhat funky turn. The profanity of the chorus belies its catchiness.

One of the ways noise is used is to hide some of the vocals. There is an entire verse at the end of Closer that I didn't know existed until I saw the video. There are several other songs on the album that utilise this, as a subconscious message attached to the more audible lyric ("I am the bullet in the gun (and I control you), I am the truth from which you run (and I control you)" or to hide inflammatory phrases.

Big Man With a Gun is the most depraved song on the album, "taking phallic symbolism of guns to its brutal limit"[2]. It is the violent peak, the point of no return. A Warm Place follows, a beautiful instrumental perfectly placed. An obvious standout, proving Reznor's artistry isn't just confined to industrial, heavy music.

After the brief respite, Eraser enters, a booming drum riff somewhat reminiscent of Peter Gabriel's "Intruder" but twice as ominous. Reznor's voice recites two word sentences, at first quiet, then rising to a shout. As the song progresses the vocal is electronically disintegrated until it melts into the noisy foreground.

The title track is perhaps the most blatant demonstration of the dynamic contrast. The first half is a solitary acoustic guitar playing the Downward Spiral melody, the calm before the storm of the second half, the most disturbing music I've ever heard. Heavy metal sounds saintly by comparison. This is what I imagine hell would sound like.

The journey ends with Hurt. This is the song that confirms Trent Reznor's songwriting ability isn't just a fluke. Johnny Cash masterfully covered it a few years ago; both versions are essential. Hurt is the ultimate catharsis of the album, and a suitably depressing end.

This is Nine Inch Nails' greatest album, and one of the greatest albums of the decade.

Videos: March of the Pigs - Closer - Hurt (NIN Version) - Hurt (Johnny Cash Version)

Nirvana - Album Review

NIRVANA (nir-vah-nuh) - noun

1. A place or state characterised by freedom from or oblivion to pain, worry, and the external world.

It seems ironic that the frontman to a band of such a name ended his life because of the pain, worry and interactions with the external world he encountered during his life. 

Nirvana's final album, self-titled, features 15 of the greatest tracks that defined a generation. With personal favourites "You Know You're Right", "About A Girl", "Smells Like Teen Spirit" and "Come As You Are".

The "best of" album opens with the final song composed by the late, great Kurt Cobain "You Know You're Right". This personal favourite of mine draws attention through the introductory guitar playing subtle minor chords, followed by a strong base commanding the attention of those who are fortunate enough to hear it. This song has the ability to change my mood in a matter of seconds. Although it seems to have a darker edge to it, the initial voice, rhythm and melody of the song are calming, soothing... by the end of the song the tranquil atmosphere previously created is destroyed by harsh vocals, louder, more deliberate guitar chords being struck and a less rhythmic pattern. The ability of one song to manipulate the mood of its listeners is amazing, particularly when the moods aren't simply happy to sad or vis versa.

The unique nature of Nirvana as a grunge rock band makes this album even more interesting to listen to because this genre of music is quite new, unlike other genres such as pop, rock or classical.

Fans will not be disappointed with this final album designed to capture the greatest hits ever produced by Nirvana, along with the last song ever composed by the band. The haunting nature of Nirvana's music stays with you forever as one of the most innovative band of the 90s.

Crowded House - Woodface (1991)

Album Review

Album Details

Highlights: Chocolate Cake, Fall At Your Feet, Italian Plastic

In 1991 with the release of Woodface and its run of iconic singles, Crowded House reached the pinnacle of their worldwide commercial success. Through all of the many achievements of these four wonderfully talented musicians over four decades, the fact that the songs featured here are amongst their most legendary and famous speaks volumes as to the significance of this album. As Neil Finn recalls of the album, “we knew we were on a bit of a winner at that point.” [1] Even more telling is the OBE honour bestowed upon Tim and Neil Finn by the queen for services to New Zealand music, largely in response to the success of Woodface in the UK.

Crowded House was born from the Ashes of New Zealand rock legends Split Enz, and the juxtaposition between these two bands is important. In its early days in the 1970s particularly, Split Enz, led by Tim Finn, established a reputation for quirky and eccentric songs and were distinctly entrenched within the sphere of art rock. Following their demise in 1984, Neil Finn parted ways with his brother and formed Crowded House with Australians Nick Seymour and Paul Hester. Their first two albums, Crowded House (1986) [2] & Temple Of Low Men (1988) [3]clearly showcased the new found maturity in Finn’s song writing and his emphasis on simple melodic pop as opposed to the flourishing complexities of Split Enz. The 1986 single Don’t Dream It’s Over was a huge hit worldwide, particularly in America.

After a few tensions surfaced during The Temple Of Low Men tour, the band took a break and Neil began collaborating with his older brother Tim for the first time in seven years. Material was also written for a third Crowded House album but it was largely uninspired and their record label was unprepared to proceed. This led to Tim Finn accidentally joining the band, when Neil asked if he could use some of the songs they’d been writing together and Tim jokingly demanded to join the band in return. With Tim in place, not to mention his powerful voice and the strong material he’d be writing with Neil, the scene was set for Crowded House to take over the world.

Woodface represents the zenith of the Finn Brothers simple melodic pop song writing, vastly improved on the albums before it. The 1993 follow-up Together Alone [4] took the band in a different and more eclectic direction, highlighting the feeling that Woodface took the original Crowded House mentality as far as it could possibly go.

The songs themselves are all refined and mature, pop gems that seal the Finn brothers’ place as song writing maestros. The only criticism that could possible be levelled at the album is that it is almost too simple, and as a consequence lacks variety. The assessment, “perfectly enjoyable, if unspectacular”[5] seems appropriate, and it makes a critique of each track somewhat difficult. But when making an effort to do so, the first tracks that come clearly to mind are It’s Only Natural, Fall At Your Feet, Weather With You & Four Seasons In One Day. All four are renowned radio staples in Australia which would surely be recognised by a grand majority of Australians. They stand out less because they are spectacular, and more because they are the best and most obviously radio-refined out of the full collection of poppy tunes.

Backed by the single success of Fall At Your Feet & Weather With You, this album became huge the world over, with one notable exception. The United States, which had so taken to the band’s previous output and looked close to being conquered once and for all, took general cultural outrage to the lyrics and message of the album’s opener Chocolate Cake. Of all the songs on the album this is the one that seems the most original and withdrawn from the formula of the rest (with the possible exception of the unusually sombre and atmospheric All I Ask.) It also happens that this most interesting and controversial song on the album is also the best in my opinion. With such lyrics as “Now the excess of fat on your American bones, will cushion the impact as you sink like a stone,” Chocolate Cake “lambasts America as a spoiled culture of overfed vulgarians.”[5] Crowded House would go on to worldwide fame and by the time of their break-up in 1996, were as iconic in the UK and Europe as they were, but all the while the Americans would not forgive the band for what they perceived to be a stab in the back, having previously been the source of much of their success.

Overall this album is not generally my cup of tea as it lacks the intensity and power of the Split Enz output, and isn’t as creatively diverse as its follow up Together Alone. But it is undoubtedly a solid and mature album musically, and one which in the context of its monumental success, has become a must have album for any Australian. If you’re a fan of any or all simple male pop rock filled with charming melodies and hooks, chances are this album will be a pleasant experience.

Check out Crowded House's official site. - www.crowdedhouse.com

For more information on Crowded House, Split Enz, or other related acts, check Frenz Of The Enz

Vidoes from Woodface...

Pearl Jam - Ten (1991)

Album Review

Short Note: Although the album has been recently reissued this review is based on the original '91 version

Tracklist - Lyrics - Official Website

Pearl Jam's debut album is often cited as a highlight of the grunge era[1]; "a grunge masterpiece" second only to Nirvana's Nevermind[2] and an "instant classic"[3]. Some, however, myself included, find this album (and Pearl Jam's music) more along the lines of hard rock[3]. Whereas Nirvana were more influenced by The Melvins and The Pixies, Pearl Jam take inspiration from acts like Led Zeppelin and The Who; heavy guitar riffs, passionate growling vocals and lead solos abound. Ten would not feel out of place if released during the 70s.

My earliest memories of this album, besides the fold-out artwork, are the two singles "Even Flow" and "Alive". My mother purchased Ten when it first came out, but only ever played these two songs. Both are highlights, but I prefer Even Flow. It seems clicheic to describe music as "towering" or "soaring"[3], those are the only words I can think of to describe Even Flow's chorus. The guitar solo creeps up on you, slowly building tension into the final vocals. Alive still holds its own however, and the guitar riff and refrain of "I'm still alive" is perhaps more iconic.

"Jeremy" is the third single, and while the first two both had music videos they were simply live performances; this was the first video with a narrative and the last video the band would do for several years. They felt the meaning and impact was lost; after being seen "a few hundred times" it becomes "Oh yeah, this is the video where the kid kills himself"[4]. I experienced this first-hand; on first listen the song is chilling, especially the chorus line "Jeremy spoke in class today". After seeing the video a few times the magic was gone, and it's only now on relisten that I remember the song's power. The bass intro, with its harmonics, creates a unique atmosphere and backdrop to the music, and returns to close the song in an equally memorable way.

As for the others, "Once", "Why Go" and "Deep" are fierce rockers, with Deep being perhaps the darkest song on an album not known for being upbeat. The song is especially interesting when heard on headphones, as the most prominent example of the panning effects used throughout the album.

"Black" and "Oceans" are perhaps the best songs here. Although the record label urged to release Black as a single, the band refused. "Some songs just aren't meant to be played between Hit No. 2 and Hit No. 3. You start doing those things, you'll crush it. That's not why we wrote songs. We didn't write to make hits. But those fragile songs get crushed by the business. I don't want to be a part of it. I don't think the band wants to be part of it."[6]

"An obvious highlight"[2], "music doesn't get any more devestating (or any more better) than [the climax of Black]"[3]. Here Eddie Vedder's intense style of singing is at its best. "Have you ever heard someone sing with as much emotion as he does right there?"[1].

Oceans is a relaxing song that builds, timpani rising dramatically as the song progresses. You can hear a pepper shaker and fire extinguisher being played, "because we were so far from a music rental shop and necessity became the mother of invention",[7] a nice discovery while listening on headphones (the fire extinguisher is in the right channel).

But the most noteworthy (and my favourite) is "Master/Slave", which opens and closes the album as a hidden track. It's an odd, hypnotic and entrancing piece of music, unlike anything else on the album, with drum machine, drums and a dominant bassline forming the rhythmic basis while echo-drenched guitar yelps across the aural landscape.

I first became enamoured with this album in my teens. Between then and now my musical tastes have expanded greatly, but this has only helped me appreciate Ten more. While some may find the music too heavy or an acquired taste given Eddie's vocal style, there isn't a weak song on here and the production is deceptively clever and spacious. Anyone interested in classic rock or simply rock of the 90s should give Ten a spin.

Videos: Even Flow - Alive - Jeremy - Oceans