Patti Smith - 'Gloria' (1976)

Versions:

7" (US)

7" (France)

12" (UK)

Tracklisting:

A: Gloria

B: My Generation

What can you say about 'Gloria'? 

It's probably my favourite punk single of them all. 

I went digging for the American 7", since I haven't blogged a 7" yet. I forgot I had the French 7". Which also made me remember I had the English 12". I guess they all count for this blog.

The American 7" is one of my favourites, and is an example of why I love 7" singles. At the risk of sounding like a typical record collecting wanker, they sound really great. I listened to the 12" first, then put this on. This is the clear winner. It seems to leap off the vinyl and dance it's way into my ears - the drums, bass and piano all vying for my attention. 'My Generation' sounds even more ragged and loose. This 7" is the perfect way to hear this seminal punk single.

The French pressing sounds a little more compressed, like the 12". At the end of the day, there's no bad way to hear 'Gloria'. I do love the American pressing, though. It can get pretty pricey these days, but it's well worth the investment if you're a Patti fanatic.

Cat Power - 'You Are Free' (2003)

Versions:

LP

CD

Tracklisting:

1. I Don't Blame You

2. Free

3. Good Woman

4. Speak For Me

5. Werewolf

6. Fool

7. He War

8. Shaking Paper

9. Baby Doll

10. Maybe Not

11. Names

12. Half Of You

13. Keep On Runnin'

14. Evolution

Best Tracks:

Good Woman

Maybe Not

I Don't Blame You

Fool

Currently listening to: LP

I'm going to try and keep this one sane, but be warned: I deeply, deeply love Cat Power. I hold her records very close to my heart. Lord knows, they've put my heart back together on more than one occasion. If I could somehow transform her records into human form, I would marry this human in a heartbeat. And, we would live happily ever after. I fucking love Cat Power.

I first heard her around that time that You Are Free came out. My best mate had heard 'I Don't Blame You' on local radio and made me listen it. I loved the song and became very interested in finding out more about who this Cat Power was. A week or two later, I saw 'Cross Bones Style' on rage (while Yeah Yeah Yeahs were hosting. Don't ask me how I remember that...) and was, again, impressed. After a discussion on the Magic Dirt forum (remember when forums were a thing?!) with a few people about Cat Power. I asked which album would be best to start with. Adalita herself recommended I get Moon Pix. So, I did.

Moon Pix didn't grab me immediately. I'm not sure why, it's brilliant. I liked it, but I didn't fall head over heels in love with it like I did with You Are Free (though, I did later). I bought You Are Free when Cat Power announced a solo show at The Gov in 2004. I was keen to check her out, and figured that she'd be playing new songs, so got the album. Now, this was exactly what I was after. Then I saw her live. She was quite something. The music was sparse, and often songs would bleed into one another, but it had quite an effect. Less, in this case, was definitely more. And, that voice. The two main times I remember being completely blown away by a voice at a show were the first time I saw PJ Harvey and the first time I saw Cat Power. Her voice seemed to come through the speakers and pierce my chest. After that, I was completely besotted. Ten years later, that love is stronger than ever.

You Are Free is the album that made me fall so madly in love with Cat Power. At the time, I think it was her most accessible record. And, while Cat Power's music may be mellow, it is by no means easy listening. The album kicks off with three of it's strongest tracks. The lament of 'I Don't Blame You', which she recently revealed was about Kurt Cobain (though, really, that comes as no surprise), the optimistic 'Free', and the devastatingly beautiful 'Good Woman'. The latter features a children's choir, Eddie Vedder on backing vocals (which, frankly, it could do without) and Warren Ellis on violin. The result is stunning. 'Speak For Me', 'He War' and 'Shaking Paper' show that Chan Marshall's usually spare song-writing and production can easily sustain - even, benefit from - a bit of beefing up (and these three are, actually, not unlike 2012's Sun). The album winds down with a selection of beautiful solo songs. The Covers Record seems to have given Chan the confidence to expand her repertoire on the piano, and we treated to 'Maybe Not', 'Evolution', and the chilling 'Names' - along with the aforementioned 'I Don't Blame You'.

You Are Free is probably the quintessential Cat Power album. Though, I may be not be the best judge - when I first heard The Greatest, I didn't think anyone would go for it. Yet, it turned out to be one of her most successful records. I remember trying to get a friend into Cat Power around the time that The Greatest came out, and urged him to listen to You Are Free instead. He did. And didn't like Cat Power until he heard The Greatest. So, there you go. For me, however, You Are Free encapsulates Cat Power better than any of her other records. Which is not to say that her other records aren't as good, nor is You Are Free necessarily her best (though, it's possibly close), but it's certainly a good place to start. It is one hell of a fucking record.

Hole - 'My Body, The Hand Grenade' (1997)

Versions:
CD
LP

Tracklisting:
1. Turpentine
2. Phonebill Song
3. Retard Girl
4. Burn Black
5. Dicknail
6. Beautiful Son
7. 20 Years In The Dakota
8. Miss World (Demo)
9. Old Age
10. Softer, Softest (from MTV's Unplugged)
11. He Hit Me (And It Felt Like A Kiss) (from MTV's Unplugged)
12. Season Of The Witch (from MTV's Unplugged)
13. Drown Soda (Live)

14. Asking For It (Live)

Best Tracks:
Burn Black
Old Age
20 Years In The Dakota
Drown Soda

Currently listening to: CD

My Body, The Hand Grenade is one those rarest of rarities - a b-sides and rarities compilation that's actually really fucking good. Coming out between Live Through This and Celebrity Skin, it feels like it should be a cheap stop-gap. Instead, it's an essential part of Hole's back catalogue, perfecting complimenting both Pretty On The Inside and Live Through This. It also stands on it's own, painting a very accurate picture of the band.

While My Body, The Hand Grenade doesn't contain every b-side and obscure track from Hole's career up to 1997, it is wonderfully sequenced to include the very best. A big part of why the album succeeds is the inclusion of both sides of the band's early 7" singles, 'Retard Girl', 'Dicknail' and 'Beautiful Son'. The pre-Pretty On The Inside singles ('Retard Girl', 'Phonebill Song', 'Dicknail', 'Burn Black') are more listenable and accessible than anything on that album, while still hitting hard. 'Beautiful Son' and '20 Years In The Dakota' were early indications of what direction the band would take with Live Through This - neither would sound particularly out of place on that album. These tracks have been remastered for My Body, The Hand Grenade, and the sound is vastly improved from the few tracks that had been previously released on CD (see 'Burn Black' on the Teenage Whore single).

Another highlight is the beautiful 'Violet' b-side, 'Old Age', which seems to be remembered more now for who wrote it than on the merits of the song. Why it didn't make Live Through This, I don't know (though, the wonderful intro turned up at the start of 'Credit In The Straight World'), because it's a really great song. The Nirvana version, released on With The Lights Out, pales in comparison to the Hole version. It doesn't even come close.

The only song on the album that sounds out of place is the demo of 'Miss World'. It's certainly an interest inclusion, and while I hope that the rest of the demos from this session see some sort of official release, the demo halts the flow of the album, somewhat. It's a distraction, given that it's one of Hole's best known songs, sitting among these lesser known gems.

The last half of the album consists of live recordings, three from their MTV Unplugged session and two from UK shows in 1995. The Unplugged songs are great, and are possibly the best tracks from the session (though, again, I do hope the whole show sees an official release at some point. It is widely available, in great quality, on countless bootlegs. And, it's worth checking out). The Unplugged 'Softer, Softest' may be the definitive version. 'Season Of The Witch', which was not included on the broadcast, is a particularly welcome inclusion.

'Drown Soda', recorded live at the Brixton Academy, is - easily - the best live recording of Hole I've ever heard. It's absolutely scathing. I'm glad they chose this version for the album, as opposed to the studio version from the 'Teenage Whore' single - this is the definitive version. It's truly wonderful. The album ends with 'Asking For It', live from the Reading Festival in 1995. While it's a faithful version, it's not a revelation, the way 'Drown Soda' is (and, for those interested, both the Reading and Brixton shows are partially available on the wonderful Vengeance Is Mine bootleg - 'Miss World' from the Reading show is particularly haunting).

I think this was the second Hole album I got, after Live Through This (and during a trip to Coffs Harbour, of all places). Hole vinyl has always been elusive. And, expensive. I managed to get a vinyl copy off eBay about 4 years ago. It's one of my favourite records.

My Body, The Hand Grenade is as important to Hole's history as any of their studio albums. More importantly, it's a great listen, particularly to fans of their pre-Celebrity Skin work. That Hole only released three studio albums during their lifetime makes My Body, The Hand Grenade even more valuable.

The Rolling Stones - 'Between The Buttons' (1967)

Versions:

LP

CD (UK)

CD (US)

Tracklisting:

Side One:

1. Yesterday's Papers

2. My Obsession

3. Back Street Girl

4. Connection

5. She Smiled Sweetly

6. Cool, Calm & Collected

Side Two:

1. All Sold Out

2. Please Go Home

3. Who's Been Sleeping Here?

4. Complicated

5. Miss Amanda Jones

6. Something Happened to Me Yesterday

Best Tracks:

Yesterday's Papers

Back Street Girl

Connection

Currently listening to: LP

Between The Buttons was one of the first Rolling Stones records I had that wasn't a compilation. I had Beggar's Banquet and Let It Bleed, and loved them. I was very much interested in exploring the Stones' early back catalogue, but I found it dauntingly vast (in retrospect, I'm not sure why. It wasn't that much more than The Beatles or The Who. However, it was much messier. I'm pretty sure that both the UK and US albums - which were considerably different - were released in Australia. Not to mention the countless 70's compilations).

I happened upon Between The Buttons in a record shop sometime in the late 90's and bought it (it was a German pressing that, I later found out, featured the tracklisting of the UK version. Thankfully). The only song I knew was 'Yesterday's Papers'. Being a 60's Stones record, I figured I couldn't go wrong. Once I got the record home and played it, however, I was slightly disappointed. It didn't really grab me. I wouldn't say that I didn't like it. It just didn't grab me. Especially not in the way that Let It Bleed had. I added it to the collection, and didn't give it much more thought...

...until about 10 years later. I've never stopped listening to The Stones, and have consistently bought their records. Whenever I found one of their 60's albums that I didn't have, and at a price I was willing to pay, I eagerly snapped it up. However, around 2009-2010, I found myself in a huge Stones resurgence. I decided, around this time, that I needed to finally get some of the albums I didn't have (I didn't even have Aftermath at this point - I'd never come across a cheap enough vinyl copy). It helped that the CD's had been beautifully remastered and rereleased a few years before. I slowly started buying them (and, at full price - I buy so much music, I'm usually quite a scrooge and only pay full price for new releases). By some happy coincidence, a few months after I decided to buy all the remastered CD's, I found myself at a huge CD sale at the Adelaide Showgrounds, where I found almost every one of the remastered CD's for $5 each. Suffice to say, I bought the lot. Including both the UK and US versions of Between The Buttons.

With these new CD's, I finally revisited Between The Buttons. And, this time, I loved it.

I find all of the songs on the first side quite charming. 'Back Street Girl' and 'Connection' have become favourites. Sure, 'Back Street Girl' is no 'Lady Jane', but it is a sweet song. As is, 'She Smiled Sweetly'. 'She Smiled Sweetly' almost sounds like it could belong on Their Satanic Majesty's Request, had they produced it like 'We Love You'. I even like 'Cool, Calm & Collected', despite it's silliness.

The second side is rockier than the first. 'All Sold Out' is typical of The Stones during this period. 'Miss Amanda Jones' is an interesting glimpse into what The Stones would become in the 70's. 'Please Go Home' is a psychedelic 'Not Fade Away'. While, 'Who's Been Sleeping Here' is a hint to what would come the following year with Beggar's Banquet. 

The US version of the album adds both sides of the 'Let's Spend The Night Together'/'Ruby Tuesday' single, at the expense of 'Back Street Girl' and 'Please Go Home' - two of my favourites. Despite the fact that both sides of the single were brilliant ('Let's Spend The Night Together' took me a long time to warm to. 'Ruby Tuesday' is, obviously, one of The Stones' best singles), they don't belong on Between The Buttons. The track order is also altered. They certainly made a mess of it. In the context of the US album, the album tracks feel like filler, lazily thrown together to make an album out of the single. Which, to the American record company people, it probably was.

There's a certain charm to Between The Buttons. While not every song is a classic (and who says they have to be?), it's certainly the most consistent album that they'd released, up to that point. If it is slight, it's only so in comparison to the great work that The Stones were doing at that point in their career. Either way, it has become one of my favourite Stones records.

Sharon Van Etten - 'Tramp' (2012)

Versions:
CD (with Tramp Demos CD)
LP

Tracklisting:
1. Warsaw
2. Give Out
3. Serpents
4. Kevin's
5. Leonard
6. In Line
7. All I Can
8. We Are Fine
9. Magic Chords
10. Ask
11. I'm Wrong
12. Joke Or A Lie

Best Tracks:
Give Out
Serpents
In Line
Leonard

Currently listening to: LP

Sharon Van Etten is, as of mid-2014, my latest obsession.

I hadn't discovered a new artist for some time. Realising this, at the end of 2012, I read through FasterLouder's Top 50 albums of 2012, hoping to discover something new. At #49, was Tramp. I watched the 'Magic Chords' video, and was suitably impressed. Nothing else on FasterLouder's list took my fancy. Though, I kept coming back to 'Magic Chords'. I immediately downloaded the album, and instantly fell in love with it (and don't worry, I happened upon the CD in a store about a week later, and bought it).

Tramp was exactly what I needed. On paper, it ticks all the boxes for what I usually love - a lady with a great voice who sings sad songs about love gone wrong. Such a simple description, however, sells Tramp short. Because, these are really great songs. Sharon Van Etten clearly knows a thing or two when it comes to song-writing. The songs are also delivered with such raw conviction - how could I resist?

Of course, what matters for any great album are the songs. And Tramp is bursting with great songs. If 'Magic Chords' was the loaded gun, then 'Give Out' was the bullet. And, it hit me square in the heart. I can't remember the last time I've been affected by a song quite like this. 'Give Out' is simply beautiful. And, the stunning version she played on Triple J further cemented my love, both for the song and for her. This song has become like my crack since discovering this album. I'm still not sick of it. 'Serpents' is an uneasy (though, rewarding) listen, with it's "black eyes" and "trying to forgive your crimes". Despite their lyrics, songs like 'Leonard', 'All I Can' and 'We Are Fine' feel surprisingly optimistic. When she sings, "Well, I'm bad at loving you" in the chorus of 'Leonard', she sounds likes she quite OK with being bad at loving him. Generally, however, Tramp isn't a cheerful affair. Which, of course, is probably one of the reasons I love it.

I discovered Sharon Van Etten right when I needed her - Tramp felt new, yet happily familiar. I think I'm still in the honeymoon period with this record. I have a feeling, however, that Sharon Van Etten is here to stay - given that I equally love the two records she did before Tramp, and her new one (it's probably bad timing for me to blog Tramp, since I'm currently obsessed with Epic and Are We There). Though, I have had the same feeling before, when I started listening to other artists that have become favourites. I hope I'm right.

Spazzys - 'Aloha! Go Bananas' (2004)

Versions:
CD
CD+DVD
DVD

Tracklisting:
1. Zombie Girl
2. Surfen Bird
3. The Sunshine Drive
4. Action City
5. Hey Hey Baby
6. Steal A Kiss
7. Paco Doesn't Love Me
8. Shake & Twist
9. My Boyfriend's Back
10. Cigarettes
11. You Left My Heart In The Garage
12. Zatopeks
13. My Car Doesn't Brake
14. I Wanna Cut My Hair Like Marky Ramone

Best Tracks:
Zombie Girl
Zatopeks
Paco Doesn't Love Me

Currently listening to: CD

Has it really been 10 years since Aloha! Go Bananas?

My, how time flies.

I first heard The Spazzy's when their demo was played on 3D Radio in Adelaide some time in the early 00's. My best mate and I were immediately interested, based on their name. We thought it was a fucking great name for a band. The first song I remember hearing was 'Let's Get Spazzy'. I instantly loved it. I remember downloading their demo CD from their (Angelfire-hosted) website, which included 'Let's Get Spazzy'. I played it a lot.

The first time I remember seeing them play was supporting Gerling at Fowler's around 2003. My mates and I went only to see The Spazzy's. And, they were a lot of fun. We saw them once or twice more before they put out Aloha! Go Bananas (I do seem to recall that they released the Paco Doesn't Love Me single first, although I could be wrong). The gigs were always energetic and fucking fun.

I was pretty eager for Aloha! Go Bananas when it first came out. My initial reaction was disappointment - it didn't have 'Let's Get Spazzy'! Regardless, I really dug the album. 'Paco Doesn't Love Me', 'Zombie Girl', 'Zatopeks', 'You Left My Heart In The Garage' and 'The Sunshine Drive' were my favourites.

They played two nights in Adelaide about a week after the album came out. One night at the Crown & Anchor, and the next night supporting Magic Dirt at The Gov. Both gigs were fantastic. I remember being a little tipsy and (accidentally) talking to Kat and Ally. They were really nice, if not a bit dubious about the drunk guys that happened to be sitting next to them (it was in the old foyer at the Cranker, when they'd have the fire going. It was actually unintentional, I promise). I told Kat that 'Let's Get Spazzy' was my favourite song and that I couldn't believe they left it off the album. She seemed surprised that I actually liked it, telling me she'd written it as a throwaway, just to get the band's name on the radio. They then played it for me at the gig, which was sweet.

The weirdest thing about this album was that 'My Boyfriend's Back' became something of a hit single (Wikipedia tells me it hit #24 in the charts). At the time, I was still working at Target, and they put it on the promotional DVD we had to play on the TV's in the store (even Magic Dirt never made it to the Target TV's!). Which was a bit surreal. There was another song I liked on the DVD, so I'd play Spazzy's and this other song on a loop. It was great, if not a bit weird.

Listening to the album tonight, for the first time in a long time, has brought back a lot of memories. Primarily, the smell of beer and cigarettes in the Cranker band room. And, hangovers and ringing ears. Despite, the obvious nostalgia, it's still a pretty good album. I must admit, it's way better than I anticipated.

I ended up with a few copies of the album. I re-bought it when they re-released it with a DVD. I then got a copy of the DVD, since they sent it to people who already bought the album (which I found out after I'd already bought it). All you had to do was email their record label the barcode from your CD and they sent the DVD. Pretty cool.

The last time I saw The Spazzy's was Big Day Out in 2007. Kat had broken her arm and Davey Lane from You Am I played guitar for them. I think they may have played in Adelaide once since then. I don't give The Spazzy's much attention these days. I still haven't bought their second album. I kept meaning to import it, since it was only released in Japan. When it was finally released in Australia a few years ago, I still never got around to getting it. I enjoyed Aloha! Go Bananas so much tonight, I might need to seek it out. I know they still play around Melbourne (and I think they recently toured Europe), I hope I catch them live again some time.

Led Zeppelin - 'Led Zeppelin II' (1969)

Versions:
LP
CD
Cassette

Tracklisting:

Side One:
1. Whole Lotta Love
2. What Is And What Should Never Be
3. The Lemon Song
4. Thank You

Side Two:
1. Heartbreaker
2. Living Loving Maid (She's Just A Woman)
3. Ramble On
4. Moby Dick
5. Bring It On Home

Best Tracks:
Ramble On
Whole Lotta Love
Bring It On Home

Currently listening to: LP

As I teenager, I - like many others before me - faithfully worshipped at the alter of the mighty Led Zeppelin. I was convinced that they were the best rock band to have ever graced the Earth. Though I loved Houses Of The Holy and Physical Graffiti, those first four albums were as precious to me as gold.

As the years wore on, my love for Led Zeppelin faded. Quite dramatically. Of all the 60's bands I listened to - and adored - as a teenager, there's only two that I can't really stomach anymore - Led Zeppelin and Deep Purple. While Deep Purple don't really come to the table (sure, Fireball is still a great album. That's about it), I feel a little guilty about abandoning Led Zeppelin, if only for how much I deeply, deeply loved them when I was 15. While tastes change, I still love most of the bands I loved at 15. And, Led Zeppelin are, in my estimation, still one of the most loved bands around. So, what is it about them I can no longer relate to?

I'm about to drop the needle on Led Zeppelin II and find out. I'm hoping I'm newly impressed by what I hear. But, I have a feeling it might be a bit too wanky, cock-rock for me.

Things are off to a good start with 'Whole Lotta Love' and 'What Is And What Should Never Be'. Robert Plant's voice, which used to be one of my favourites voices in the world, teeters on the verge of self-indulgence, but, happily, doesn't quite becomes conceited. On these first two tracks, at least. Once we get to 'Killing Floor' (or 'The Lemon Song', if we really must), it all falls apart. It doesn't help that I'm much more familiar with Howlin' Wolf's version of the song now than I was when I worshipped Led Zeppelin. It's also with this song that I've come to realise that, largely, it's Robert Plant's voice that has put me off Led Zeppelin. Yes, he has a great voice. But, it's a bit pompous and over the top, isn't it? 'The Lemon Song' sounds like Page and Plant playing soggy biscuit. It's not pretty. 'Thank You' is possibly the worst song on the album. A song like this shouldn't have been so bad in 1969 - tons of bands were doing sickly saccharine love songs, and making them work. Somehow, 'Thank You' is particularly nauseating. It should have been their 'Here Comes The Sun'. Instead, it's their 'Close To You'.

I'm hoping things improve with the second side. I can't decide if I like 'Heartbreaker', it was never a favourite. Things pick up again with 'Living Loving Maid'. While it sounds like it could be any number of unremarkable hard rock bands from the late 60's, I quite enjoyed it. Even better is 'Ramble On', where all the elements have harmoniously fused. It is, easily, the best four and a half minutes on the album.

'Moby Dick'. Ugh. I forgot about this one. The riff's actually pretty good. But, then there's the drum solo. 70's drum solos are the musical equivalent of watching paint dry. And, this was the monster that started them all. The albums ends on a high note with 'Bring It On Home'. That pompous voice croons the blues-y songs pretty good. The first half of the song is a rare understated moment in Led Zeppelin's back catalogue, and it really works well. Even when the rocky part kicks in half way through, it still works. Aside from 'Killing Floor', I can't think of any of those old blues songs (that blatantly they stole) that they didn't do well.

I'm pretty sure that the first version I had of this album was a cassette. And, strangely, it's not the same cassette copy as the one I still have. My Dad did inherit a lot of my old tapes to play in the car. I'm assuming this one of one of them.

I did not enjoy Led Zeppelin II as much as I thought I would. I have listened to it - and enjoyed it - in the last few years (I have a friend who, once our drinking sessions had wound deep into the night, would inevitably demand that I put this album on), but tonight it felt like an old friend that I have no interest in reconnecting with. Perhaps, the first or third (or even fourth) albums would have been a wiser choice if I wanted to reignite the love for Led Zeppelin. But, I don't. I know that will sound like blasphemy to the Zeppelin faithful out there - I know, from experience, that they hold the band very close to their hearts. However, Led Zeppelin II, as influential and important as it may be, just isn't for me anymore (which feels odd to say after the last blog praised Kylie Minogue's first album. But, there you go).

Kylie Minogue - 'Kylie' (1988)

Versions:

LP

CD

Cassette

Tracklisting:

Side One:

1. I Should Be So Lucky

2. The Loco-Motion

3. Je Ne Sais Pas Pourquoi

4. It's No Secret

5. Got to Be Certain

Side Two:

1. Turn It Into Love

2. I Miss You

3. I'll Still Be Loving You

4. Look My Way

5. Love At First Sight  

Best Tracks:

Got To Certain

I Should Be So Lucky

Je Ne Sais Pas Pourquoi

Currently listening to: Cassette

Now, this was the first album I ever owned. I had a cassette copy that I (accidentally) stole my school library in, of all places, Ceduna. It's hard to believe I've been listening to Kylie even longer than I've been listening to Madonna. Our Kylie's treated me well over the years. Though, it has been a tumultuous relationship.

Despite an early childhood love (that ran from this album up until around the time of 'Confide In Me'), I fought the Kylie love for a long, long time. When 'Can't Get You Out Of My Head' came out, I couldn't deny it, and Fever became the first Kylie album I bought since Let's Get To It. After that, I bought a few more, but it was still a rocky relationship. I've never seen Kylie live, as she's always timed her tours while I'm in a, what I call, Kylie slump. Since X, which I hated at first then fell in love with during my first overseas trip (those Europeans love a bit o' Kylie), I've stopped fighting it and embraced it, wholeheartedly. I can't help myself. I ended up buying all the remaining albums I was missing from her back catalogue, including this one - my original tape was long gone. I've come accept that I love Kylie. And, I fucking love daggy, old Kylie.

For added nostalgia, I've popped on my (more recently acquired) cassette of the album. I still listen to this album more than I care to admit. However, hearing it on a wobbly, bassy cassette brings back memories of many childhood car trips with this in my walkman.

Side One is pure gold. Well. In a cheesy, 80's pop kind of way, it's pure gold. It does, in fact, contain a good chuck of my favourite Kylie songs. 'I Should Be So Lucky' has, in recent years, become my favourite karaoke song. I also love that, at the insistence of Nick Cave, she started doing spoken words performances of it in the 90's. Which did make me look at all the songs on this album differently. Despite the cheese factor and the unmistakable Stock, Aitken and Waterman production, many of the songs are actually pretty well-written, decent songs. And, like all good Kylie songs that followed, have that underlying melancholy. In the hands of someone else songs like 'I Should Be So Lucky' or 'Je Ne Sais Pas Pourquoi' could have been downright wretched.

As a kid, 'It's No Secret' was always my favourite Kylie song. These days, that accolade goes to 'Got To Be Certain'. Most of Side One, however, are favourites. Not so much, 'Loco-motion'. It's bit of cheesy fun, but has mostly nostalgic value - I actually remember when this came out (I was 5. And, loved Neighbours), and I loved it. All of the songs on Side One were singles, which also means they were all accompanied by gloriously daggy videos. From Kylie dagging around Melbourne in 'Got To Be Certain' to the French-chic of 'Je Ne Sais Pas Pourquoi' (which features Kylie singing in front of a photo of Arthur Rimbaud), these videos feature Kylie at her daggy 80's best.  I highly recommend watching these videos, they're a lot of fun. I think she left a few off the Ultimate Kylie DVD, but if you find a copy of the Greatest Hits 87-99 DVD, they are all preserved there (along with all the others from her early career). It's a worthy investment. And, has become my favourite DVD to watch whilst drunk.

Side One of this album makes me fantastically happy. Like The Immaculate Collection, it's my gay prozac. I love every song on the first side of this record. Side Two, however, is another story. 'Turn It Into Love' was a single (I think only in Japan?), and I've grown to really enjoy that one.The remaining four songs are pretty forgettable. 'I Miss You' would have been an OK b-side (and funnily enough, 'Made In Heaven', which was the b-side to 'Je Ne Sais Pas Pourquoi', is better than any of these songs, yet isn't on the album). 'I'll Still Be Loving You', 'Look My Way' and 'Love At First Sight' (and no, not that 'Love At First Sight') are offensive in their unoffensiveness. They're just there. They are blatant album filler - I'm not sure if the makers of this record ever intended anyone to actually still be listening at this point. There's probably a reason that all the good songs are on the first side.

As I said, my original cassette of this album is long gone. Regrettably, I started giving my cassettes away when I was around 12, when I discovered 60's music. Suddenly, all my late 80's and early 90's pop tapes weren't cool. I'd love to have them all back, and see exactly what I had. But, there you go. The new cassette I got was part of a Kylie bundle I bought on eBay for $1, that had this cassette, a special edition of X and 45's of 'Never Too Late' and 'Hand On Your Heart' - for $1. It was worth it to get the cassette. It brings back a lot of memories.

As an album, Kylie relies heavily on it's singles. My favourite way to hears these songs, and the way I'd recommend anyone hear them, is on the Greatest Hits 87-99 album (which, I think is now, sadly, out of print). Kylie wasn't really an album artist until Impossible Princess, but she put out some great singles. Greatest Hits 87-99 fantastically distils this early part of her career, without the filler. Instead of enduring the dreary songs on the second side of Kylie, you can cut straight to 'Hand On Your Heart'. Plus, it includes 'Made In Heaven' and 'Especially For You', which Kylie doesn't. Perfect!