The Album Review Club - Week #146 - (page 1935) - Ocean Rain - Echo and the Bunnymen

I SHOULD COCO


I’m in the same position as OB1,I just don’t have the time nor am I as articulate in my writing skills to do the wonderful reviews Rob,Spires,Foggy and now Mr Belfry do.I’m happy just to do the three listens and more on occasions then decide if I like what I’m hearing.i love this thread as I get to hear music that I’ve not heard before, others that I’d not heard in ages and occasionally find a hidden game ala JJC,FR and Rodriguez.

Unfortunately this isn’t one of them, I was never into Brit Pop so I’ve only ever heard ‘Alright’ which I quite liked.The rest of the album is ok, quite listenable while driving, a bit punky in places which I like.As others have noted there’s a bit of a Madness sound on some tracks and Gaz Coombs soundslike Peter Perrett on others.
Best tracks for me the first three also liked ‘Lenny’ ‘Strange Ones’ and the slower ones.
‘we’re not supposed to’ sounds like something from the awful Haribo ads.

All in all a fun listen but nothing that would make me want to investigate further..

6.5/10
 
Apologies for the late response. Once again I start doing something on a day off and get sidetracked by colleagues referring work issues to me.
As I said after my first listen and has been reiterated by so many. A great first album, showing their yourthful exuberance. Energetic and exciting in parts and perhaps showing a few influences across the album.
I did think after a couple of listens that it was perhaps in need of some editing down. A couple of tracks simply not needing to be on there, but that they were because it was their album and they wanted to show a bit of humour (We'e Not Suppose to / Time to Go).
"I'd Like To Know" I thought had a touch of the Stranglers and was a great start to the album and did provide me with the idea that there was some punk in there. I also got bits of a 60s vibe, bits of The Kinks or Gaz trying to sound a bit Jaggerish on "Time".
Caught By The Fuzz was excellent as was Lenny (and I too got the Whole Lotta Love "homage"?)
Strange Ones was indeed strange as I could have almost thought Black Francis was doing the verses and then it changes style for the chorus. Still very enjoyable though. That said, not sure what the need for the bells were at the end of that and the start of Sitting Up Straight.
I had never listened to any album by Supergrass and had only bothered with the singles so it was enlightening once again, but also very enjoyable.
As I said one first listen, a breath of fresh air after last week.
It's a 7 from the Derry jury
 
Well this nomination has come at a time when I've got full on Covid. I've been feeling very under the weather from it and whilst I'm over the worse of it, Covid will always remind me of a particular album - and what a belter it is!
I have to come back to @GoatersLeftShin 's excellent write up, because on its own, it fired me up to listen to this album. First off, I hope you are doing better. I've been on 3 weeks of continuous travel on weekdays, and felt the need to take a Covid test after week 1 for the first time since my 2021-2 UK trip, and I was glad it was negative. My wife reminded me that the test kit had expired, but I reminded her that the good news of a negative was the timely news I needed.
The reason this album means so much to me is that it's ended up being almost the anthem of 1995 but also kind of heralded the very last night out we had too before the Covid lockdown.

On Saturday 29th Febrarury 2020 - just a few weeks before Covid changed the UK - a big group of us had tickets to go and see them over in Leeds. We were staying over and looking at the set list they were basically going to play a lot from I Should Coco and everyone was buzzing for the gig.

So my pre-pandemic story is I knew the Covid lockdown was coming (despite some in government leadership denying science), and it was after the first cruise ships and deaths in January were getting quarantined and no one was taking this seriously. I had to take a final customer trip from Feb 25-27, and I saw one TSA worker wearing a mask on the way to Memphis. On my way back, I saw over 10 travelers in the airport wearing one - shite was getting real. Since it was still winter, I took a scarf with me and used that on the plane to keep my breathing covered and aided by what I thought was the best semblance of a mask without actually having one at that point. Little did I know how used to wearing (most) all of us would be soon-after. I knew that would be my last trip for a long while, and my biggest memory of Feb 29 on the day of your gig was my middle son's 21st birthday (big in the US for being of age) being delayed by a leap day as we planned to safely go out and celebrate with him. At least we got that in an outdoor setting with nice temps before it all went down so fast.
We got to the O2 in Leeds and Supergrass came on stage and basically blasted out most of I Should Coco. I was stood there hearing these magnificent pop anthems, but I couldn't help but feel that there was something completely profound and unnerving about what I'd heard. The atmosphere was electric, partly because it was a blast from the 90s but I do think that many other people had a feeling that this was the last time they'd be able to go to a gig for a while. There was something in the air that night for sure. Funnily enough, when I heard 'The Eve of the War' the other week, it made me think that watching Supergrass in Leeds was almost like that - everyone carrying on as if there was nothing to worry about but little did we know what was about to happen.
Well described feeling and I concur on that same feeling with that song. Little did we know, even if we did. Thinking things will have to change and experiencing it were two different things.

It really is quite strange how music can do this - on the one hand I associate I Should Coco with carefree days, parties and what seemed to be one of the best summers ever. Every song just seemed so effortlessly catchy, and it was also one of many brilliant albums that year. However, it also ended up being my pre-and-in-Covid album too! I will never be able to hear this album again without thinking of these two completely opposite experiences!

Anyway, some of you will have heard it before, but if not you are in for a treat.

It's a Britpop masterpiece.

While I'm not ready to put this up with my enjoyment of The Bends or What's the Story (Morning Glory), this debut effort does pack a punk punch. The first two tracks come out of the gate swinging both sonically and musically and really had me thinking this album was released at least two decades earlier in punk's origins if I didn't know better.

The start of "Mansize Rooster" actually had me thinking of an Oasis tempo, nicely done. Given I've already noted I wasn't familiar with "Alright", I will admit it really is the deserved hit of the album as it changed from the punkness heard earlier to this well done hit. I doubt I'll ever get to @BlueHammer85's numbers of hearing this song, but I doubt he'll ever hear “Who Let the Dogs Out” or "All Star" as much as I have had to either. ;-)

I can't say I heard the "Whole Lotta Love" connection musically right away in "Lenny", but the guitar from the get go was quite familiar. "Strange Ones" was indeed that, but I could also see that one being a hit with fans. Musically, "She's So Loose" works for me more than the lyrics or vocals (by this point), but it really is probably the song musically that hits the best. I didn't like the voice alterations in "We're Not Supposed To", but maybe that's just me. "Time" kinds of plods on a bit, but "Sofa" brings a nice sonic sound that helps out the second half of the album. Good choice to end things on a short acoustic feeling on "Time to Go", which also reminded me more than a bit of "Half The World Away" from DM released the year prior. I'm sure others have noticed this too.

It's tough to judge opening band albums because we know the initial sounds are usually based on influences, and this one sounded very punk influenced. I've heard Gaz Coombes solo music a bit, which I do like, but time will tell if I enjoy his band more than his solo efforts. Right now, I'm feeling the solo a bit more. For me this lands at a 6.5 with some nice enjoyable moments, but I'm not as much into the punk background as others who will rate this higher.
 
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I know I've been absent for a bit, but I did get a chance to listen to this and enjoyed it -- I knew the big hit (on the "Clueless" soundtrack as well, which I've brought up a few times on other threads) but I actually enjoyed the varied semi-punk-pop tunes a bit more. The sing-songy vocals did really irritate me though -- I'm normally voice-neutral, but here they don't add value, they subtract. I guess what that means is the music is 7, but the vocals are a 5, so a 6 is my score. Hope to recover for more thorough reviews at some point next month!
 
Well this nomination has come at a time when I've got full on Covid. I've been feeling very under the weather from it and whilst I'm over the worse of it, Covid will always remind me of a particular album - and what a belter it is!

It was released in 1995 and despite being up against Oasis' What's The Story, Radiohead's The Bends, Pulp's Different Class, Blur's Great Escape and Alanis Morrisette's Jagged Little Pill, Goldie's Timeless and Leftfield's Leftism I think this was one of the best albums released that year and maybe even the best. I still think that period from maybe 93-98 or so was probably the last great era for albums - it seemed like every month someone would release a magnificent era-defining album.

I was young, carefree and at University and this album just seemed to be everywhere and we played it constantly. Many a night started with this immense album. It's joyous sense of fun, punky pop and brilliant melodies were a soundtrack that year.

There's some albums that just feel like they sum up and era and this is one of them. It's brilliantly melodic, clever and just brilliantly written. I do feel that this band have never really been given the Britpop credit they are due. The only thing I can think of is that one of the songs - Alright - just seemed to be a bit of a joke song when it was released.

It's 'I Should Coco' by Supergrass.

The reason this album means so much to me is that it's ended up being almost the anthem of 1995 but also kind of heralded the very last night out we had too before the Covid lockdown.

On Saturday 29th Febrarury 2020 - just a few weeks before Covid changed the UK - a big group of us had tickets to go and see them over in Leeds. We were staying over and looking at the set list they were basically going to play a lot from I Should Coco and everyone was buzzing for the gig.

We all got on the train and as the beers flowed, we were laughing and joking and generally chatting about life in general. Everyone was in great spirits and looking forward to an all-dayer and seeing a brilliant band.

Most of the lads on the train go to a couple of gigs a week and are well into live music and we were discussing bands and the scene back in the 90s. Then something bizarre happens which literally changed the atmosphere and it also ended up pretty much saving my job and the company I worked for.

One of the lads does a lot of business out in China and someone asked him 'What is this virus doing the rounds, will it affect your staff in China?'. This pretty naieve question sounds ridiculous now but I honestly don't think any of us expected Covid to come over here, not to the UK. Afterall, stuff like MERS and SARS was a Far East thing and had nothing to do with us!

He basically said: "It's stopped the manufacturing of goods that we import and we're running very low on stock now. We are in danger of breaking contracts and could get fined if we cannot get the goods out of China. I am seriously worried for our staff over there and I'm also worried I could lose my house, job and business by July if it continues. I'll tell you this - the whole of the UK will be working at home in 3 weeks maximum. This is pretty much going to be the last gig I go to for quite a while so enjoy it. My contacts in China are basically trapped and there's every chance a lot of them will die in the next few weeks. We cannot visit them and the only thing we can do is promise them we will pay for any medical treatment they need. We all hope that they get out of this alive."

We were taken aback with this. We had no idea that this could affect us. Then another lad says:

"I have to travel to London normally as part of my job and I've been told if I go to another office, I will be sacked on the spot. Our company are treating this Corona virus like nothing else we've seen before and they are seriously worried that it could take out the company if someone catches it".

As you can imagine, a few minutes before it had been laughs and jokes and all of a sudden the atmosphere changed. I think everyone was pretty shocked by this but as you can imagine the conversation soon moved on. We got to Leeds and we kind of just got on with having a good time, but I think everyone was slightly spooked with this warning from someone we respect.

We got to the O2 in Leeds and Supergrass came on stage and basically blasted out most of I Should Coco. I was stood there hearing these magnificent pop anthems, but I couldn't help but feel that there was something completely profound and unnerving about what I'd heard. The atmosphere was electric, partly because it was a blast from the 90s but I do think that many other people had a feeling that this was the last time they'd be able to go to a gig for a while. There was something in the air that night for sure. Funnily enough, when I heard 'The Eve of the War' the other week, it made me think that watching Supergrass in Leeds was almost like that - everyone carrying on as if there was nothing to worry about but little did we know what was about to happen.

And sadly, it would be the last night any of us would be able to go to a gig for a long time. One of the lads caught Covid shortly after and ended up in a pretty serious condition but luckily he is ok now. We think he caught it that night and how he got it but the rest of us didn't is a total mystery.

I went into work on the Monday and told my boss what I'd been told him what I'd been told and a couple of days later we made plans for the company to work remotely. That random chat on the train essentially saved our company and about 30 jobs as we managed to get everything done very quickly. It allowed us to get laptops in, cater for remote working and move everything online within a couple of weeks. Without it, we would've gone under.

I've listened to this album for decades now, but nowadays whenever I think of them, I can't help but think of THAT train journey. As I'm here, finding it odd how one minute I can have a runny nose, then a blocked nose, can't taste anything and the rest, I can't help but think of that night in Leeds. In the dark days of Covid when we really had no idea what was coming, I found this album took me back to that time in Leeds and gave me some hope that things, one day, would finally get better. Of course, it also reminded me of them hedonistic University days and summers that just lasted forever!

I loved this albumn in the 90s, I think it's almost perfect - infectious pop, slightly ridiculous and above all, fantastic melodies. They were a vastly underrated band.

Needless to say that live they were magnificent!

It really is quite strange how music can do this - on the one hand I associate I Should Coco with carefree days, parties and what seemed to be one of the best summers ever. Every song just seemed so effortlessly catchy, and it was also one of many brilliant albums that year. However, it also ended up being my pre-and-in-Covid album too! I will never be able to hear this album again without thinking of these two completely opposite experiences!

Anyway, some of you will have heard it before, but if not you are in for a treat.

It's a Britpop masterpiece.

Can very much relate to this experience, had very similar where a group of us debated not going at all at that point. There were no guidelines or even suggestions, and people were still going about their daily lives, travelling everywhere and going to things like Cheltenham and football matches. Yet sonething just felt off, and we almost decided not to go. In hindsight, glad we did, as it was the last gig for a fair while, never mind all the rest that came and floored the world.
 
The album drew a total of 17 scores, and comments from 3 posters of which one ir two I don't recall seeing on this thread before. Finishes eith an average of 6.18, and some good discussion and nostalgia throwbacks.

Over to @Big Joe Corrigan now, to close off the round in style.
 
Artist: Elliott Smith. Album: XO
(Apologies, the album is on Spotify, but I don’t know how to provide a link to it)

Steven Paul Smith, I imagine few on here have heard of him, even after changing his first name to Elliott, I doubt it makes much of a difference.
Born in Nebraska, raised in Texas, but as a musician spent most of his time in Portland, Oregon.

A talented guitar player, and multi-instrumentalist, he played with the band Heatmiser on the Kill Rock Stars record label, eventually signing to Virgin, but never breaking through.

What would follow was far removed from the rock influenced Heatmiser.

Smith released his debut solo album in 1993, titled Roman Candle, a low-fi production recorded in a girlfriends bedroom. A self-titled album would follow, then another, Either/Or. Either/Or is where I discover Elliott Smith.

On holiday in France, playing darts on a sun-drenched patio with an old friend, I’d been listening to Wu-Tang Clan’s ‘Wu-Tang Forever’ album on the cd player, which was carefully balanced on a garden chair. I love that Wu-Tang album, and still play it, however my friend wasn’t impressed and took control of the music. What followed stopped me in my tracks, my aim becoming even worse, as a hauntingly beautiful and incredibly sad series of songs came out from the speakers.

“Elliott Smith” he replied as I enquired who this was, the album was Either/Or. I was hooked, and Smith’s work stays with me to this day, through the trials and tribulations of life, both the highs and some awful lows.
Although Either/Or stayed true to his previous folk inspired albums (folk-rock in parts, maybe?), there was a stronger production, a fuller sound to some of the songs, although the ever present vocal misery prevalant through his previous work was thankfully for me still there, depression, alcholism, drugs, attempted suicide, paranoia, all would influence his work.

I’m guessing if you like your music upbeat, maybe you can opt out now, no need to go any further, just mark it as 1/10.

But I’m not here to nominate Either/Or, though I suggest you check it out, rather its his fourth album XO that gets the nod, or a hug and a kiss these days.

I’m sure many of you will be familiar with the film Good Will Hunting, Robin Williams (much missed), Matt Damon, Minnie Driver amongst others. Much of the soundtrack on the film is Elliott Smiths music. The song Miss Misery, yes there’s a theme here, becomes nominated for the Oscars on the back of the films success.
And so in March 1998 Smith finds himself backstage rubbing shoulders with the glitterati, with a tv audience of 57 million. A lady tries to help with the nerves he is clearly suffering from. Resplendent in a badly fitting pale suit Elliott walks onto the stage with his acoustic guitar, the orchestra have already begun. The first few lines are mumbled, but the sound technician does his job and Elliott’s performance is met with warm (polite?) applause. The version is far removed from the album, but it’s good nonetheless. He doesn’t win, of course he doesn’t, the lady who did her best to reassure him backstage wins, Celine Dion no less, with ‘that’ Titanic song. What chance did he have, he was non-league, up against a premier league giant, the fix was in.

Anyhow, I’m wavering, basically on the back of the Oscars he is signed to Dreamworks, the budget is now bigger, the studio equipment better, and he completes his fourth album, XO. The first track begins as the the other albums left off, but then it changes, boy does it change, in no part due to Dreamworks heavy investment. But I’m not going to comment on the songs, they’re for you to discover, for you to pass judgement.

Smith would go on to produce another album, Figure 8, but then his life would end, at 34, tragically, though not unexpectedly, with two stab wounds to the chest from a pair of kitchen scissors. Whether self-inflicted, or via the hand of someone else, was never made fully clear.

Someone once said he was the "unhappiest man in the land", a singer you didn't so much listen to as commiserate with. As a musician who peddled so much misery through his hauntingly sad tales, abused as a child, a former heroin addict, a “bad” alcoholic, crack, depression, suicide attempts, it was all so inevitable.

I was in the States when he died, in a relationship that would later almost kill me, I returned to England wearing my Elliott Smith t-shirt on the plane, I doubt anyone noticed or cared.

I hope you can commiserate with this album.

(NB: The Oscars performance is on YouTube)
 
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