One Touch/ Sugababes (2000): Albums of my Life: an A-Z

  being aware of the single 'Overload' and not immediately loving it, but knowing that it felt a bit different to other girl groups. I'm imagining that I saw the music video because it is definitely a factor that set the tone of who these young girls were (and they were young, only 15 and 16 years old). The video is shot on a plain white background and pans across to reveal the girls in mid and close-up shots, and they just look so fresh, natural and 'normal'. It doesn't surprise me to read that they were formed in 1998 by the same manager as the group, All Saints, because they had this cool edge and their lack of frills and girliness appealed to me at that age. Also, the fact that they were about the same age as me at the time made them feel relatable.

I'm not sure about when I took the plunge and purchased the CD, but I did and I got it on vinyl last year-- testament to what a great album it is. When we were teenagers my dad would let us load up a CD into the car's player and in hindsight, it strikes me how much of a champion he was for us being into music because he always took an interest in what we listened to. Even though his music taste lay in the 70s for the most part, he (and my mum) have always been open to new music providing it had substance and musicianship to it. I recall him liking some of what he heard with this album, only a brief comment, but it was clear that he recognised the groups' skilful harmonies, something that I think makes the Sugababes a  standout group.

Northern Star/ Melanie C (1999): Albums of my Life: an A-Z

 being part of the wave of excitement over the Spice Girls. I was the age for it, about twelve, I guess. The fun, the cameraderie, the outfits and colour-- I loved it. I think I went to see Spiceworld at the cinema twice! Watching that film as an adult was a real disappointment; the acting and cheesiness is cringe-worthy, but the album Spiceworld is still as wonderful as ever. Never Give Up on the Good Times, for example, is such a feel-good, innocent pop record. When I listen to it I still visualise their accompanying dance move and it brings a smile to my face.

I had the platform trainers, the Ginger Spice-inspired red hair with a yellow-blonde 'money-piece' (self- dyed of course) and some questionable bright and flamboyant clothing items, and I loved it!

Then I got a bit older and too cool for all that pizazz! And the Spice Girls went their separate ways with solo projects, and I was curious. I remember either owning or borrowing from the library (and recording) Emma, Geri, Mel B and Mel C's albums. I enjoyed parts of all of them at the time, but it is Melanie Chisholm's Northern Star that stood out the most, both then and now.

Mary/ Mary J. Blige (1999): Albums of my Life: an A-Z

 spending hours of my time, in my room listening to albums like this one. At age 15, I was on an R n B/ soul train, browsing the comparatively small, devoted section in HMV like my life depended on it. It's not like we had Google, so I would get to see some music videos on MTV Base and then I would go from there just following artists through artists. If someone collaborated on a track of a singer or band I liked, I'd hunt that artist out. Or if I heard a snippet of something somewhere that caught my ear, I'd try and investigate, often taking a gamble on an album just based on hearing part of a song or the reputation of a singer or group. Some R n B and soul was brought to me through the mainstream charts-- but,  more than many of my friends-- I sought out music of black origin in a big way. There was nothing that came close for me in terms of the romance, the sweetness of the harmonies and the sexiness! 

From a young age, I listened to Michael Jackson's back catalogue with an affinity for the way it dove in and out of pop, soul, disco and funk. Of course, as a pre-teen, I'd never have given my passion for music a second thought, in fact, it's only as an adult that I realised that music obsession (listening to albums from start to finish, lying on your back on your bed, eyes closed; skipping back to a certain riff over and over to mentally assimilate the beautiful vocal acrobatism of it) is not something everyone does. But this is what music of black origin does for me. I say 'music of black origin' deliberately because as I've got older, I realise the importance of that. The far-reaching influences of R n B (from jazz, gospel, swing and blues) tell part of the history of its foundings; however, the context of racial segregation and discrimination can never be overlooked. From oppression comes solidarity within communities, creative power and a powerful sense of ownership.

Whilst Mary J. Blige's 'Mary' was part of a soundtrack to my own youth, it is my understanding that Mary J. Blige and other black female artists like her are not only iconic, but imperative role models within the African-American communities and beyond. 

Love is Here/ Starsailor (2001): Albums of my Life: an A-Z

  being 16 or 17 and this album just becoming part of my world. I owned it on CD and was starting to branch out a little from my beloved R n B/ Soul music interests into an indie direction. This album was suitably moody for my young sensibilities and James Walsh's voice stood out to me-- it still does, in fact.

The single 'Alcoholic' immediately drew me in with its piano accompaniment and dismal lyrics (fodder for inward-looking folk); the harmonies and arrangements spoke to me too and made Starsailor stand out from other groups of a similar ilk. As the years passed, I loved their others earlier albums such as 'Silence is Easy' and 'On the Outside', possibly enjoying some of the tracks on them even more than their debut. Despite that, 'Love is Here' is where it started and there's a vibe about it that takes me right back to 2001 and all of the mixed emotions of that time for me.

Kill the Wolf/ Matt Berry (2013): Albums of my Life: an A-Z

   having a family barbecue back home one Summer. It must have been 2008, a truly significant year for me. I was due to start my new job, beginning the career I had trained for; a few months before I had experienced a tough break up; I was living alone back in Hampshire and getting to grips with it all. At the barbecue, my brother put on this unusual prog album complete with a rich-voiced narrator overlaying some of the tracks. That voice belonged to comic actor, Matt Berry, and the album was 'Opium'.

I had loved the IT Crowd and it really tickled me that the hilarious 'Reynholm' would suddenly manifest himself onto an experimental prog album in our garden in Kent! The music was oddly infectious and I found myself wanting to hear more when I was back in Hampshire, so I hastily bought a copy of the album on CD. As my interest and love of this album grew, my fascination with Matt did too. I sought out more of his more obscure comedy work, from 'Garth Marenghi's Darkplace' (a parody 80s style hospital drama/ horror series) to 'AD/BC: A Rock Opera' (a comedy musical written by Berry and Richard Ayoade). In addition, I was charmed by his real life, low key and humble persona in interviews-- a far cry from his larger than life characters. 

Journey Through the Secret Life of Plants/ Stevie Wonder (1979): Albums of my Life: an A-Z

  hearing this album for the first time and finding it very different to the Stevie Wonder music I had previously been listening to. I found Stevie as an older teen and purchased a CD of some of his love songs. Interestingly, that gateway into Stevie's music had me hear slightly more obscure tracks than his chart hits, with 'Golden Lady', 'Ribbon in the Sky' and 'You and I' featuring as some of my faves. With this album, years ago I may have skipped through my CD copy to mine the tracks with Stevie's wonderful vocals (as opposed to the instrumentals which punctuate this album), but with hindsight, I needed to hear it as a whole piece of work. The joy of vinyl is that we do just that.

I'm Not Your Man/ Marika Hackman (2017): Albums of my Life: an A-Z

 ...finding Marika Hackman on Google Music (as it was then) on my phone and apathetically browsing through the new releases thinking: 'I wonder what the kids today are listening to at the moment...' I'm not even that old, but that's the way it had gotten! I saw the cover of Any Human Friend, her latest release at the time (so Summer, 2019), and that album cover grabbed my attention immediately. There was something uncanny about it. Then later I realised that it had been inspired by a photographer called Rineke Dijkstra whose work has always fascinated me. Subconsciously, I must have sensed that this would be something cerebrally worthwhile listening to, something off the beaten track perhaps. It took me a year before I was hooked. A month or so of liking and then loving one song, 'Come Undone'; then more months of walking and digesting and finding that Marika was speaking to me in a way that no female artist had done for some time (and certainly not quite in the same way!) Any Human Friend is an album, for me, about coming to terms with yourself and allowing yourself to accept taboos about the human condition, specifically those attached to being a woman.

The album before this, 'I'm Not Your Man', also explores issues to do with gender and sexuality. I can remember falling in love (again piece by piece, deliciously drip-fed) with this wonderful creation. The track that got me addicted was 'My Lover Cindy' which deserves some focus later in this post.

Hedonism/ Bellowhead (2010): Albums of my Life: an A-Z

 ...happier times before this pandemic. Times when we weren't faced with restrictions and would think nothing of travelling across the country or being part of a crowd of people. Some of the most joyous pre-Covid moments were seeing live music, something I never did enough of as a youngster and sought to rectify some years ago. I guess part of why I didn't see as much live music in my 20s was due to my taste being more R n B based and not having the means to see the artists I loved live. As my interests broadened, my desire to seek out live music grew.

Seeing Bellowhead at Wickham Festival in 2014 and then in Poole in 2015 gives me a yearning to return to life where these sorts of opportunities were taken for granted. Wickham, where they headlined, was marvellous-- there's something about being in amongst a crowd of middle-aged folkies that feels like home! There's a real connection with the music and a lack of inhibition that emanates from such crowds. In contrast, the gig at Poole's Lighthouse was a sit down affair, but despite the enforced seating, the crowd were up on their feet before long, leaping and frolicking, shaking the living daylights out of the rather flimsy auditorium seating.

Good at Falling/ The Japanese House (2019): Albums of my Life: An A-Z

...a time, maybe a year or two ago when I had more or less given up on finding new artists that I could get on board with. I'm from an era where there was Top of the Pops on TV and you'd go into Woolworths or Our Price to browse the chart music on a big wall and maybe pick up a single on cassette tape, or later a CD. That's not the world today, technology has changed the music industry inevitably and indefinitely. For years, I sourly declared myself out of the loop when it came to modern music because it was 'too generic', 'too auto-tuned', 'boring'. And in a sense, some of the mainstream chart music is that, but the very technology I berated for ruining the fun has over this last year or so opened my eyes to some incredible artists, those that sit on the periphery due to the lack of diversity in the charts. But then, within their genres, they are making massive waves and have huge fan bases.

I found Marika Hackman through Google Play after a fascination with the cover of Any Human Friend and like most long-lasting relationships, it took a while to fall in love. Once in, I was in. I was aware that that album was influenced by her split with Amber Bain from The Japanese House, and I dabbled in listening to a few songs, but, if I'm honest, my aversion to vocal effects (due to a saturation of them in chart music) made me less inclined to give my time to really listen.

Of course, it was an error of judgement on my part because The Japanese House, whilst having voice alteration as a trademark in her production, is far, far more than that. In fact, I would say that after much listening, Amber Bain is a trailblazer.

Fly or Die/ N.E.R.D. (2004): Albums of my Life: An A-Z

...listening to this album for the first time with a boyfriend at university in his tiny room in the halls of residence. I liked what I heard immediately and then bought this a year or two later after we had broke up. You know a person's made a mark on your life in some way if they brought you music.

In the early days of owning this CD, I would dance around the flat that I lived in alone to 'She Wants to Move' and 'The Way She Dances' with reckless abandon.

I think what struck me initially about the album was the fusion of sounds, the contrast of high production value and effects and the unpolished, raw feel of the vocals and guitar at times. I'm no expert, but I know what I sounded like as a teen on my electric guitar and tiny amp; this is obviously way better, but there's a quality to it that sounds humble and young. I saw that Chad Hugo had only been playing the guitar for a year before recording this album as they wanted to play instruments live (including Pharrell on drums), so I felt quite smug with my instincts that this was the case.