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SPEW pronounces the 21st-30th best albums of 2017. Shazam!

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(Steven J Wilson)

21.    Wire – Silver/Lead (Pink Flag)
          Wire are one of my staples, consistent and consistently surprising: https://spewrocks.blogspot.com/search?q=wire




22.    John Murry – A Short History of Decay (TV)
         And then I wrote … https://spewrocks.blogspot.com/search?q=john+murry


23.    Whiffs – Take a Whiff (High Dive)
          I liked it then https://spewrocks.blogspot.com/search?q=whiffs … I like it now. 


24.    Aldous Harding – Party (4AD)
Not that anyone asked, but if Aldous Harding reminds me of any of her contemporaries, it’s Cate LeBon. They both have this striking ability to swing from the confidential to the bel canto stentorian more than once over the course of an album. Harding’s songs, mostly accompanied by her guitar and piano, are koan-like without being obscure. Harding uses space deftly, yet her spare arrangements sound full, partly because her voice is so personal and pre-possessing. I’ve seen Party described as everything from alt-country (she’s from New Zealand) to Goth. And I guess it’s all true, Harding’s songs and performances are declarative without being rigidly defining; she makes room for you in these songs - It’s a skill, people. 

25.    Low Cut Connie – Dirty Pictures 1 (Contender)
Were the cake as good as its ingredients Low Cut Connie would be the saviors of rock n’ roll. Not quite, their composite of Stones, Jerry Lee, and ‘Mats only occasionally lives up to its lineage. But close gets a cigar because these Philly believers are pretty damn good. On this, their fourth album, Low Cut Connie dig deeper, get more soulful, and even show a working class embattled patriotism, providing roadhouse kicks and something almost like vision. 
26.    Kevin Morby – City Music (Dead Oceans)
Kansas City kid, Kevin Morby moved to New York right after he got his GED. With Cassie Ramone from the Vivian Girls he formed the Babies, a refreshingly, unaffected rock band that released two albums. Going solo in 2013, City Music is his fourth solo record, and his best. Recorded with his live band it’s a compelling mixture of introspection and sinewy rock that Lou Reed would have enjoyed for its sly intelligence. 


27.   Courtneys - II (Flying Nun)
These three women sound like a Flying Nun band, veering between power pop and buzzing shoegaze, complete with breathy female vocals floating on the band’s bed of distorted, jangly guitars. A Vancouver band recording for the New Zealand label, the Courtneys measured pop aggression is more market friendly than most of the Nun stable because the Courtneys drive the groove home. Singer and drummer Jen Payne sings about infatuation and heartbreak and the usual ‘girl group’ emotional menu, but the band powers these songs well beyond twee. 

28.    Endless Boogie – Vibe Killer (No Quarter)
The concept almost seems like a joke. Endless Boogie = Blues Hammer. Ha ha ha. But these guys, who all started jamming at the record store in Brooklyn (can’t remember which one), take the most searing parts of Canned Heat’s “Endless Boogie” and the Stones’ “Midnight Rambler” (the sped up part, all wailing harp and guitars) and jam on their facsimiles ad infinitum. You’d be excused for thinking that sounds dull. It’s actually strangely mesmerizing. This is their third album, featuring the closest thing to tunes they’ve arrived at yet, without sacrificing the drone-buzz that stoner rocks you into nirvana. 


29.    JD McPherson – Undivided Heart and Soul (New West)
I gave JD’s first two records a little more respect. His first was a co-number one, his second a top ten record for Reverberations, my older blog. This is a really good record, good writing, inspired performance, and maturity that occasionally slides into mannerism. Such are the perils of excellence, if this were the first thing I ever heard by McPherson I’d think it was amazing. And it kinda is. 

30.    Joan Shelley – s/t (No Quarter)

When an artist goes the self-titled route for a fifth album it suggests either a lack of inspiration or a belief they’ve done definitive work. It’s safe to say that the latter applies in the case of Joan Shelley. Jeff Tweedy’s attentive, but unobtrusive production focuses on Shelley’s guitar playing and riveting vocals. Hers is a voice that’s ice and fire, a Yankee emotional analog to the incomparable Sandy Denny, with a similar emotional range, her songs expressing romantic isolation, romantic gratitude, and most points in between.
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The people have spoken.

Wire is having a 40th anniversary. Yes, I feel old.

(Steven J Wilson)
"Editor's" Note: One Mr. Colin Newman of Brighton observes that it is he who plays most of the keyboards on recordings by Wire. I'm not sure where, or if, I indicated otherwise, but Mr. Newman's contributions (in the studio and to SPEW'S accuracy) are noted. He is certainly an authority on the subject.  Wire is celebrating the 40th anniversary of their debut Pink Flag with the release of their fifteenth studio album Silver/Lead.   Wire’s first three records, Pink Flag, Chairs Missing, and 154 formed a blueprint for much of what came next in the wake of punk; showing how the drive and anger could be channeled beyond the roar and rage. Wire did, however, share with the Pistols a sense of the absurd. Uncomfortable with the conventions of rock, Wire set about reworking and subverting rock ’n’ roll. From Flag’s short, sharp blitz of songs to the more Kraut-Floyd atmospheres of Chairs Missing, to 154’s dark consolidation of Wire’s elements (immaculately...
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Mississippi: Old Times There are Not Forgotten

(Steven J Wilson)
The deeper you dig the more tenacious the lies. How could it be otherwise when you start with slavery as a cornerstone of the Southern and let’s be honest - American economy? Chattel slavery is the ethic of capitalism taken to its ugliest, terminal conclusion. If labor is a commodity to be bought, why not introduce the option to buy and sell and eliminate as much as possible the requirements of remuneration? It’s just business.   Once an economy is built on such a repulsive foundation what good could come from it? And now The Peculiar Institution lives on. Its legacy is mass incarceration, wealth inequality, housing discrimination, and other institutions and mechanisms of white superiority. My father’s family was part of it. I am saddened by my ancestors’ participation in slavery. Tracing my ancestry, I found documents confirming that my great-great-grandfather owned slaves. If the records I’ve found are indicative it appears that he had few, mostly devoted to household ...
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The death and future of punk, pt. 37, THE IDLES

(Steven J Wilson)
The Idles are from Bristol. The one in England, not Connecticut. They’ve been plunkin’ about since 2012, but their first album was released this year. It’s called Brutalism.   The cover features a photo of singer Joe Talbot’s mother, whom Talbot cared for in the last years of a long illness, mounted above a stark shrine constructed by Talbot and his father. These are placed in the corner of a bare room with brick floors and white painted brick and stone walls. It has the barren, but emotionally loaded austerity of Joseph Beuys work. It’s an eerily   perfect image for an album entitled and themed around the notion of brutalism.   Ever seen this movie called My Architect? It’s about the architect Louis Kahn, revealed through the eyes of his sometimes estranged son, Nathaniel Kahn. It’s heartrending, as a dad and lad tale, in its austere, sadly masculine way. The younger Kahn, as a budding filmmaker, with a heavy, still hurting heart find the beauty in his father...
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