Born to Run - Bruce Springsteen

Early in our relationship, one Valentine's Day, B told me "you ain't a beauty, but hey you're alright." And my heart melted. In a moment, I knew that he got it. He got my obsession with Bruce.

(B would like to add, btw, that he said it not because he believed it, but because he knew she loved the line).


Simply put dear reader, this is the greatest album of all time. L is not sure she can write about it and do it any justice. Thunder Road. Tenth Avenue Freeze Out. Jungleland. Born to Run. Born to Run is on most mix tapes, cd or playlist we've ever made and is always the first song played in the car on every road trip to Melbourne. Of course, only once we get past Hall and can put the foot on the gas.


L once heard Bruce talk about Born to Run album cover. As you open the sleeve, you see Bruce leaning on E Street Band saxophonist, Clarence Clemons. He describes the cover as an invitation to join the band. Thunder Road, the opening track, was Bruce's invitation to the album.

The song starts slowly with a lonely harmonica wail. It picks up speed as Bruce describes a vision: "the screen door slams, Wendy's dress sways". It's a simple but evocative image, which takes you somewhere else - straight into small town America. No songwriter has mastered imagery like Bruce. Indeed, he's more a storyteller than a songwriter. And there's many a novelist who could do well to learn from Bruce's pithiness. It doesn't take him 60,000 words to tell a tale.

Born to Run is extraordinary. Every listen makes us want to pack up our lives and get in a car and just go. What stops us is that we'd make it to Yass and realise it's not as easy as it sounds. That's the tragedy of the characters in Born to Run. We know that for all their enthusiasm and pent-up energy, they're not going to find escape and release.  The song apparently took six months to record, with overdub after overdub. Listen to the song closely and repeatedly and you can hear how it is painstakingly constructed. It's worth it. Every bar is a masterpiece; it's never been bested.

Bruce has made great solo albums but the E Street Band take his songs to a whole nother level. Each member of the band is a great talent and there's an unusual egalitarianism to the songs' production. No part dominates the other. Each instrument equally vies for your attention, which makes the album anything but subtle. The complementarity shows a band of geniuses working in perfect harmony.

Of course, Bruce is the pinnacle. His vocals are raw, rock and roll. But he has range and he can do it soft or loud. And when he's loud he's electrifying. The best there ever was.

Jungleland warrants mentioning because it's the world in a song. It doesn't have a single narrative arc, it has multiple. From highs to lows to deeper lows and the most breathtaking pinnacle. Our favourite line is "down here the poets don't write nothing at all, they just sit back and let it all be". Clarence's sax solo is magnificent. In a world where "sax solo" has rightfully become a dirty phrase, this stands alone.

It's a town full of losers. I'm pulling out of here to win.

Heartbreaker - Ryan Adams

And we're back. Christmas holidays, milestone birthdays, Hottest 100 and finally we've returned to the routine of a martini, an overly ambitious meal and a classic album. How I have missed martinis.

What an exquisite album to bring us into 2012. Ryan Adam's debut solo album from 2000 is his masterpiece. It opens with a rockabilly foot stomp, To Be Young, which incites some backyard dancing at Martini Saturdays headquarters. It's followed up with My Winding Wheel, which is a beautifully optimistic love song. In fact they are all beautiful love songs, either about wanting someone, finding someone or losing someone. There is no shortage of women who have fallen in love listening to this album.

Ryan is usually categorised as 'alt-country'; we've always doubted the utility of this term because it seems to only ever be used to describe Ryan Adams and Wilco. In which case, it is probably the greatest music genre of recent times.

My Sweet Carolina is a lonesome travelling ballad about loss, hope, thwarted ambition and missing your home. That is, it's like nearly all country ballads. It says something about the universality of these emotions that such a popular and enduring genre barely covers anything else. Also, like so many country ballads, Emmylou Harris and her ageless voice provide sweet backing vocals.

Ryan's band, Whiskeytown, whom he left just before recording Heartbreaker, were a fun country band. But they didn't have the raw, subtle, brilliant melodies of Heartbreaker and (some of) Ryan's subsequent albums. Tracks 8-10 are the perfected and quintessential core of this album. Damn Sam is a simple tune with confused metaphors, but it's one of the first of his songs that I fell in love with. Come Pick Me Up is his classic, the song most often cited as his best. And even after a thousand listens, the first notes of the harmonica still have enough power to kick you in the guts.

To Be the One is Ryan musing on the night before, with a guitar in hand. I can never decide whether is about a relationship break up or a one night stand. This track has some great lyrics - "I don't know which is worse: to wake up and see the sun, or to be the one that's gone". And the best line on the album - "the empty bottle it misses you and I'm the one it's talking to".

There is a quiet intimacy to this album that no other Ryan Adams' album quite reaches. It's best enjoyed when you're drinking by yourself, late at night with headphones on, yearning for someone to share it with you (but knowing they'd ruin the wonderful loneliness).

For those of you familiar with Ryan, we can't write this blog post without acknowledging that he's a complete wang. I love him and (almost) everything he releases. However, the one time I've seen him live he was terrible. A prima donna who couldn't be bothered to perform. We're seeing him at the Forum in Melbourne next month on the back of his best release in five years (Ashes & Fire). He better bring it this time.

The Miseducation of Lauryn Hill - Lauryn Hill

We have cheated a number of times in choosing this week's classic album. It's Friday night for a start. We also went through a number of 'random' selections before finding an album we wanted to listen to. Nirvana, the Velvet Underground and Nick Cave were not appropriate for this balmy Canberra evening where the beers are flowing and there is still the promise of the weekend. The Miseducation of Lauryn Hill is perfect.

Lauryn Hill's first solo album is a deep, slow-burning, hip hop record. It's low-key but intense - the lyrics and themes are deeply personal - exploring race, love, women and faith. Hill's rapping rivals anyone in the game but it's her singing that sets her apart. It's smooth, subtle and soulful. She switches seamlessly from rapping to singing throughout the album, harmonising with herself and riffing off her own melodies.

B offers his analysis - "It sounds like she was smoking a lot of weed". Well yes, she was hanging out in Jamaica with Bob Marley's son and the family of Marleys. Hill was pregnant when she was writing this album - the creativity and moving influence of this time of her life is borne out in the songs.  She mixes reggae, r&b and soul influences, producing a ground-breaking hip hop album that challenged and defeated the misogynistic genre.

The massive hit was Doo Wop (That Thing). This is the song you want your little girls to listen to. It's Aretha Franklin's modern day Respect. Make your boys listen too for that matter. This album was huge because it appealed to everyone. And if you find someone who claims to like hip hop without respecting this album, then kick them in the shins. Ex-Factor is the killer break up song that Kelly Clarkson wishes she could get close to.

Despite being a brilliant album that easily stacks up 15 years down the track, at 70 minutes in length, it does start to fade towards the end, particularly the appalling Nothing Even Matters with D'Angelo. Nonetheless, Everything is Everything kicks in towards the end and keeps the faith. The film clip of  New York as a giant record is a revelation.

It is only fitting that Kanye ends our post tonight with some sadly honest lines about Hill in his song Champion - "Lauryn Hill says her heart was in Zion. I wish her heart still was in rhyming. Cos who the kids gonna listen to huh? I guess me if it isn't you". Yep, nicest way to say that since this very brilliant album, Lauryn Hill has stepped off the reservation.

'68 Comeback Special - Elvis Presley

If we could only take one album between us on a desert island, this would be it. No ifs, no buts. Elvis' black leather suit comeback album is the perfect mix of rockin', croonin' and swagger. We love the stand-up version, but it's the sit-down version that makes us lose our shit.

After a decade long contract with the big movie studios, Elvis had to be reintroduced to the public to prove that he was still cool. The stand-up special is an OTT, musical stage play of his most popular numbers. Famously, during a break in rehearsals, the producers saw Elvis jamming with his band in the break-out room and were blown away. The low-key 'sit-down' show was born and was released as the B-side. Thank goodness, because it is stripped-back, raw and perfect. Elvis jamming and joking around with his bandmates. Just singing and letting loose.

They play fragments of songs, they play songs twice, they start songs and Elvis forgets the words, they shift seamlessly from one song to another (When My Blue Moon Turns to Gold Again into Blue Christmas is fabulous). And it's the most wonderful recording ever made.  That's Alright Mama is simply gold. The second time they play Lawdy Miss Clawdy is spine tingling - the first wailing note that Elvis sings is a pants-wetting moment. The greatest single bar in popular music. If we could travel to any point in the history of the earth, it would be this.

The stories and banter between songs are hilarious. Elvis talks about being banned from moving his hips during gigs. He reflects on the changes to music since he last performed live. "I like a lot of the new groups, the Beatles, the Byrds...". he's reflective, he's very funny, he's shy and he's commanding. All at the same time.

It's easy to get blown away by Elvis' voice and hear nothing else. But every member of the band is a genius (even if some of them tell bad jokes). Scotty Moore's guitar is subtle and exquisite. And DJ Fontana is playing drums on a guitar case. A goddamn guitar case. And have we mentioned the leather suit???

The second time they play Trying to Get to You is amazing, with Elvis throwing everything at it. The most beautiful moment is when the song draws to a close and the band pleads with Elvis "one more time, one more time" and he tears into the chorus with no regard for his vocal chords.

The set on the version we have closes with If I Can Dream, a poignant, optimistic rip-roaring plea for hope. "While I can think, while I can talk, while I can stand, while I can walk, while I can dream, please let me dream". Lennon's Imagine is weak compared to this.

Our friend Elvio introduced us to this record and he has our eternal gratitude. If you only know Elvis from the ballads like Love Me Tender, you need to buy this record. If you're a living, breathing human being, you need to buy this record. And if you're a bloke, accept that you're wife will never be as attracted to you as she is to Elvis (but if it's any comfort, the man sure as shit went downhill from here...). This is not just the peak of Elvis, this is the peak of music.

Definitely Maybe - Oasis

I'm surprised it's taken us this long to get to Oasis. Of B's favourite bands of his long-haired and awkward youth (we now only have You Am I and Ryan Adams to go - stay tuned).

Oasis's first album, Definitely Maybe marked the resurgence of British rock'n'roll and spoilt rock stars.  Oasis had swagger before Kanye even knew what the word meant. We could probably dedicate a blog to "quotes of Noel". For a band that took itself so seriously, the best thing about Definitely Maybe is the sense of fun. Rock and Roll Star is a balls-out rock and roll song about wanting to be a balls-out rock and roller. I loved playing this song on guitar, turning up my 15-watt amp and wailing "toniiiight, I'm a rock and roll star" (along with, I'm sure,  hundreds of thousands of adolescent indie boys).

Shakermaker is kind of fun, kind of cheesy and kind of forgettable. Surprisingly, it was the second single from the album.

Live Forever is the sort of anthemic ballad for which Oasis became famous and which multiplied their fan base by the millions. It's a great song, but I can't help but think that it pales in comparison to later songs like Wonderwall and Champagne Supernova. And I will be honest and say that while Noel is a brilliant songwriter, his lyrics are naff. "Maybe I don't really want to know how your garden grows, cos I just want to fly."

The riff in Columbia is thrilling. The best live show I've seen Oasis perform was at the Livid festival in Melbourne. It was so freakin energised and this song was a highlight. Listen to the beat and imagine yourself jumping up and down in a mosh with a thousand pasty brit-pop fans. (Ok, that image does not sound as awesome as it was...) Speaking of naff, the backdrop for the stage was a black banner with the word "EXIST" written in massive white letters. Umm, ok, thanks Oasis. Will do.

Supersonic. First single they ever released. It grabs every other rock song written in the 1990s by the collar and punches them in the face. Our friend Karin is painting 100 stories about people's favourite songs. My story was about Supersonic, so read it and see the painting here.

Cigarettes and Alcohol is brilliantly funky and fun. Noel was accused of stealing the riff from Get It On by T-Rex. Agreed, it is pretty similar, but who cares? He took the riff, dressed it in some skinny jeans, stuck a cigarette in its mouth and poured a shot of Jack down its throat. Job well done.

Digsy's Dinner is the band playing around, still to great effect. It's most famous for the opening line: "what a life it would be if you would come to mine for tea, I'll pick you up at half past three and we'll have lasagne." The Beatles comparison always bemused me - Oasis were a rocking great band, but Noel sits a few rungs below John and Paul in the songwriter stakes.

Slide Away almost sounds like a grunge song, which is odd because Oasis billed themselves as the antithesis of grunge, the dominant sound of the time. It shifts from the minor-key verse into the major chorus though, and the morose, grungy, mood is dismissed by the uplifting brit-pop chorus.

The album closes with Married With Children, a throw-away song (with some brilliant lead guitar work)  that still sounds excellent. My favourite line is "I hate the books you read and all your friends, your music's shite it keeps me up all night."

I spent many years thinking about which of Definitely Maybe or (What's the Story) Morning Glory (also in the basket) was my favourite Oasis album. I usually came down on the side of Definitely Maybe because the sound is much more raw. On the verge of becoming one of the biggest bands in the world, Oasis sounded like a bunch of lads rocking out in their Mum's garage. I dearly love this album for sentimental reasons. It might not be the greatest album, however it's pretty fucking good.

Sorry, you can't write about Oasis without swearing.