One/One Thousand

Supergrass: In It For the Money

1997

His album 

Eric says: In the summer of 1997, I was working as a lighting assistant for a Vegas-style variety show at a hotel that catered to Japanese tourists in Guam. Yes, very random. I bought "In It For the Money" the same day I bought "OK Computer" at the local music store at the biggest mall on the island. I remember sitting on my hotel bed at night and hanging out by the pool during the day enjoying the contrast of Supergrass’ in-your-face immediacy and infectious energy to Radiohead’s dark, genius, and disconcerting album. Supergrass has always been one of those reliable bands.  Even when they’re putting out clunkers, they’re not so-bad-I-need-to-shut-off-the-stereo terrible. They uphold the British lineage of the Kinks, the Who, the Jam, etc. pretty well. This album runs the gamut from the 100 mile-an-hour rampage of Richard III to more introspective, low-key songs like "Late in the Day."  Although this album was released during the bloated, dying days of Britpop, 1997 was one of the best years of music in my lifetime: "OK Computer," "Urban Hymms," "Ladies and Gentlemen We Are Floating in Space," "Homogenic" – all classics that have stood the test of time.
 
I still remember the video for "Cheapskate" being played on 120 Minutes. It’s full-on Supergrass done right. With the great melody, jump-for-joy chorus, and all, it’s a small detail that always gets me in this song – the Hammond organ hits during the verses. Listen for it! To me, that one trick seals the deal.  When Gaz sings, “I need someone to be around, 'Cos I'm breaking into life. Somebody stop me, 'cause I'm looking for my high,” it pretty much sums up being 18 during a summer in Guam.
 
This reminds me – I never did pick up "Diamond Hoo Ha Men," their latest and I need to do that...

Anouche says: It took me a few listens to decide that I really liked this album, despite the fact that it’s essentially easily accessible “alternative” pop rock – or as it was called back in the day “Power Pop.” I know Eric hates that term, but I’m sticking to it! I never really listened to Supergrass before, despite the fact that Eric reminded me that I own "I Should Coco." (I only really listen to the one big hit on that one.) They’re really a party band, but in a good way and when I listen to this album I think of a thousand skinny British kids jumping up and down in a basement with a keg and a million red party cups. This album is almost universally upbeat – no ballads – unless you count “Late in the Day” or “It’s Not Me” which are no downer but pretty, slightly slower songs that still have some bounce in the tune.  It’s definitely written to dance to and has a groove – and a little oopah thrown in. If you’re craving late ‘90s rock, this is a good bet and will definitely take you back to when you were younger, cooler and had way more parties to go to. Or is that just me?

Massive Attack: Mezzanine

1998

His album

Eric says: Blue Lines and Protection were both albums that seamlessly fused hip-hop, dub, pop, and even some house influences together into a warm, sensual whole (by the way, make sure to check out “Five Man Army”from 1991’s Blue Lines and tell me that track isn’t the SHIT) . Mezzanine, released in 1998 after a four-year break, was an altogether different animal. Dark, dense, menacing, and cold, it was quite a departure. With a few exceptions that give room to breathe, this album is a tightly wound black hole. And it’s brilliant. Like most great albums, it doesn’t really work or sink in on the first few listens. I got back into this album last winter when I was still living in New York. It was the perfect soundtrack to nighttime walks around the East Village and Lower East Side. This one is a keeper. It’s an 11-year-old electronic album, released at the height of “electronica” – Daft Punk, Fatboy Slim, the Prodigy, and all the rest – that doesn’t sound dated. Quite a feat.

But the track I want to highlight is “Teardrop”. Sung by the Cocteau Twins’ Elisabeth Fraser, it’s a fragile, gorgeous piece that works emotionally even though I can only make out the lyrics “black flowers blossom” and “teardrop on fire”. Check the creepy/beautiful video featuring a baby in utero.

Anouche says: If someone played you this album and did not tell you what year it was from, you could definitely identify this as a product of the ‘90s. It’s got that dark, trip-hop, stoned dance-music feel that was unique to electronic music of the era. It’s dancey yet relaxing. The style of the songs employing the female vocalist sound like Madonna’s better songs from the late 90’s (and I wouldn’t be surprised if Madonna ripped off Massive Attack, she rips off everyone else.) On the other hand it employs industrial electro sounds reminiscent of Nine Inch Nails (what is that? The warning beep when you don’t put on your seat belt?) There’s also that tribal music influence that was so well loved by sample-mad musicians of the time. It all works seamlessly to create what I’d call a mood album -- A mood album that makes me want to wear too much eyeliner and glitter and dance around in something made out of stretchy crushed velvet. 

That’s not to say that I don’t like Massive Attack or this album -- to the contrary. But it is a product of the era it was released in. You know when you just can’t ever drink tequila again (gin, vodka, whatever) because of a bad experience? That’s kind of this genre of music for me. I had a lot of fun but at some point I overdosed. Songs sipped individually are quite enjoyable, but as a whole album I start to feel a little overwhelmed. Poor Eric is going to think that I hate all his music, which is not the case. 

Standouts:

"Teardrop" is a pretty, melodic tune with a cool vinyl-inspired crackle in the background and a good beat.

"Man Next Door": This has a steady “low” beat, simple composition and great vocals from reggae legend Horrace Andy.