The list is now just over one-third through. And right now, there's still more than 60 records on it, so there's few which are borderline and won't make the cut. Then there's those records that I hadn't put on the original shortlist but later sneaked their way on as they underwent a re-evaluation.
That's exactly what happened with Head Over Heels, the 1983 offering from Cocteau Twins.
I've never really got into Cocteau Twins to any great depth and consider myself to be of an admirer than a fan - and even then, if I listen to anything more than about an hour's worth of their music I get a bit bored. But I'd kind of forgotten all about the album that led to me paying any attention to them.
This is part of the soundtrack to my carefree student days, particularly my first year living away from home. There were three of us who shared a flat and all of us, if truth be told, were music snobs. One of my flatmates was a huge fan of Cocteau Twins from the outset and tried hard to convince everyone of their merits. It wasn't that I didn't like them, but I didn't quite get it. By late 1983 there had been one album and 2 EPs, all of the occasional track worth listening to but only in small doses. It certainly wasn't music for going out to or for putting on if you wanted to continue the party. It was all a bit gloomy whcih was reinforced by my seeing them at a gig early on their career as support to The Fall.
At first listen, Head Over Heels didn't seem too radical a departure. But on second and third listens, I began to hear things a wee bit differently - in particular the astonishing effects that Robin Guthrie had added to his guitar work. It was an album where a drum machine rather than a real stcicksman seemed like a stroke of genius.
Before too long, this became my 'go-to' record when I just wanted to wind down after a hard night's dancing and drinking. Maybe subconsciously I wanted its dream-like nature to settle me down quickly and peacefully within the land of nod.....that and the fact that a girl I was nuts about loved the record and it was a way of getting to talk to her without feeling too much of a dick.
Nothing came of my efforts to get to know said girl any better but I'm happy to say that didn't lessen my fondness for this record. But having been drawn-in by the guitars, I was soon a convert to the vocals of Elizabeth Fraser. This is singing like nothing else on planet indie-pop. It's just, for the most part, a series of noises and sounds and not actual words but they are the perfect match for the instrumentation. And in LP closer Musette and Drums you will find something that I consider truly special and up there as my favourite non-single piece of music of all time.
Until the other week, it must have been at least 25 years since I played this LP in its entirety - the band are one that Mrs Villain just has never taken too - and it's not an LP I've ever owned on CD. I am thrilled to bits that I've rediscovered it, scratches, jumps, bumps, hisses and all.
mp3 : Cocteau Twins - When Mama Was Moth
mp3 : Cocteau Twins - Five Ten Fiftyfold
mp3 : Cocteau Twins - Sugar Hiccup
mp3 : Cocteau Twins - In Our Angelhood
mp3 : Cocteau Twins - Glass Candle Grenades
mp3 : Cocteau Twins - In The Gold Dust Rush
mp3 : Cocteau Twins - The Tinderbox (of a Heart)
mp3 : Cocteau Twins - Multifoiled
mp3 : Cocteau Twins - My Love Paramour
mp3 : Cocteau Twins - Musette and Drums
Majestic. Unworldly. Epic. Haunting. Gothic. Flawless. Lovely. And very occasionally danceable.......
8 comments:
A certain Mr Shields was certainly listening to this, wasn't he? I remember hearing Pearly Dewdrops Drops for the first time and buying it as soon as I could find a copy (which took a while if I remember) The e.p. still gets played regularly enough. I never got quite as excited by them again. However, listening now to Head Over Heels I'm finding it deserves to be played more often, too.
My admiration for Mrs V grows.
You are absolutely right, this is a great record.
Strangely enough, I have this album on my mp3 player and listen to it often when I run.
That dreamlike quality of the vocals always helps me to run without being aware of it. Like I'm floating along.
Elizabeth Fraser's voice is simply transcendental. Beautiful album.
I always liked Cocteau Twins just because Elizabeth Fraser's singing was such a great sound, and it didn't matter that I couldn't make out the words (if there were any). No one sounded like that. I guess Sigur Ros affects me the same way, with their made-up language. These songs were great when we were 20 and still are.
By the way, I am legally changing my name to 'Morris Dancer'. Or maybe 'Danseur'.
A brilliant, even game changing album. But when they played for the first time in NYC to a packe Danceteria they were SO horrible it is one of the only shows I have ever walked out on! I'm just not sure how this was possible but it was.
I often heard a spectacular words about them but never listen to any song of them. Thank you for introducing me to them - now I can understand all the positive words.
Echorich - Danceteria was a great place to see, say, the Birthday Party. Can't imagine a breathy, ethereal act like Cocteau Twins performing in that packed, scary, seedy, sordid and altogether brilliant venue.
I don't miss NYC anymore but I sure am nostalgic for Danceteria (and the new and old Pep, Ritz, Trammps, CBGB, Downtown Beirut, Spiral, Pyramid, Private's etc. etc.)
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