#1621 ·
THEY HAVE A VOICE
Introducing Terence Trent D'Arby's 1987 breakout, The Hardline.
Terence Trent D'Arby made an incredible debut, appearing on the scene seemingly out of nowhere. While his breakout single "If You Let Me Stay" dominated the airwaves and became a massive hit, it was actually that powerhouse voice that truly introduced him to the public. There was a certain grit to his vocals that made him instantly recognizable. He went on to release other albums and singles, but nothing ever quite captured the lightning in a bottle seen with *The Hardline*. If there’s such a thing as a "one-hit wonder" in terms of pure impact, Terence Trent D'Arby is the perfect example.
Yob - The Unreal Never Lived (2005)
On their fourth album, the band stretches just four tracks across 51 minutes. Even the shortest song clocks in at nearly ten minutes, allowing the compositions to evolve and morph without ever losing that core heaviness that defines them. The lyrics lean heavily into spiritual philosophy and the human psyche, though they tackle those themes with a pretty aggressive edge. While I’ve always had mixed feelings about Yob's earlier work, I have to admit I love this record—it's easily their best in my book.
The National - Boxer (2007)
Sometimes I feel like this is a compass for musical satire. The lyrics point directly toward the state of modern society—a world drowning in political figures and grand imperial ambitions, yet rotting from within because the masses lack the self-awareness to see exactly what went wrong.
Himzo - Himzo (1970)
🎉
They have no voice.
Counting Crows - August and Everything after (1993)
Lost in a sea of generic production, Adam Duritz delivers a vocal performance that feels more like strained whining than singing. It’s a tough sell. "Mr. Jones" was already an irritating track back in 1993, and watching Adam struggle through the music video doesn't exactly make it easier to digest. At its core, the band shows some genuine musicality—the harmonica player, in particular, is quite skilled—but the listening experience is ultimately undermined by a vocalist who seems determined to push through every note with an annoying, pseudo-emotional wail.
Dido - Girl Who Got Away
This actually sounds remarkably similar to her debut album. However, if there’s any real hope for Didou to pull off a true comeback, it would require a pivot—something like a dance record or a complex, aggressive electronic collection. Once she stops leaning so heavily on her vocals, that's when things will get interesting.
Gorillaz - Plastic Beach (2010)
I remember spending a long time obsessing over whether I should pick up a copy of their debut as soon as it dropped. For some reason, I don't recall Damon Albarn ever getting under my skin back then, nor did I find the whole concept of a band made up of cartoon characters particularly appealing—it felt about as exciting as a root canal. In the end, I pushed through my hesitation and walked away with another valuable lesson in keeping an open mind. Unfortunately, the exact thing I was dreading all those years ago eventually became a reality with Plastic Beach.
Sun Electric - Sun Electric (1995)
Deep, ambient techno vibes—perfect for a chill-out room like the one where this was recorded (I'm assuming?). It feels somewhat similar to certain tracks from The Orba around that same era, though I think I actually prefer this direction.
Michael Rother - Flammende Herzen (1976)
It’s a solid listen. The title track kicks things off with some bright, melodic guitar lines, backed by really engaging drumming from Jaki Liebezeit. "Zyklodrom" starts out with an ambient vibe before shifting gears into something much more intense. Then you have "Karussell," which features an unforgettable, catchy Synthesizer riff, while "Feuerland" takes a turn toward the experimental and dark—it actually reminds me a bit of the eerie atmosphere found in Kraftwerk’s "Mitternacht." It just keeps going like that.
Blur - Parklife (1994)
This is a strange collection of empaths hiding behind mild pop songs. The upbeat tracks (like "Girls & Boys," "Tracy Jacks," and "Parklife") might seem catchy at first glance, but they repeat themselves to the point of being borderline tedious. Everyone has one or two albums that are widely considered among the best recordings of their decade or genre, yet for whatever reason, you just can't stand them. Immensely. For me, *Parklife* is one of those records. To provide some context, I wasn't swept up in the Britpop hysteria of the mid-90s (not that my listening habits are inherently superior). In fact, I didn't even pick up this album until around 2001. So, listening to it for the first time—about seven years after its peak—I ran into a simple problem: *Parklife* sounds like total garbage. It feels like the album is trying to be some sort of concept piece where Damon Albarn inhabits different characters to offer social commentary. But that’s exactly where it fails. For instance, "Tracy Jacks" tells the story of some guy walking a dog, but instead of connecting with the character Albarn is trying to portray, I find myself stuck on the terrible vocals and that grating "TRACY JACKS" chorus, delivered in one of the most irritating accents I've ever heard.
Robert Calvert - Captain Lockheed and The Starfighters (1974)
A strange concept album centered on a political and commercial scandal in West Germany during the 60s. It was created by Robert Calvert, a writer, poet, and vocalist with truly one-of-a-kind melodies. This is definitely a record that requires a few listens to fully wrap your head around.
Introducing Terence Trent D'Arby's 1987 breakout, The Hardline.
Terence Trent D'Arby made an incredible debut, appearing on the scene seemingly out of nowhere. While his breakout single "If You Let Me Stay" dominated the airwaves and became a massive hit, it was actually that powerhouse voice that truly introduced him to the public. There was a certain grit to his vocals that made him instantly recognizable. He went on to release other albums and singles, but nothing ever quite captured the lightning in a bottle seen with *The Hardline*. If there’s such a thing as a "one-hit wonder" in terms of pure impact, Terence Trent D'Arby is the perfect example.
Yob - The Unreal Never Lived (2005)
On their fourth album, the band stretches just four tracks across 51 minutes. Even the shortest song clocks in at nearly ten minutes, allowing the compositions to evolve and morph without ever losing that core heaviness that defines them. The lyrics lean heavily into spiritual philosophy and the human psyche, though they tackle those themes with a pretty aggressive edge. While I’ve always had mixed feelings about Yob's earlier work, I have to admit I love this record—it's easily their best in my book.
The National - Boxer (2007)
Sometimes I feel like this is a compass for musical satire. The lyrics point directly toward the state of modern society—a world drowning in political figures and grand imperial ambitions, yet rotting from within because the masses lack the self-awareness to see exactly what went wrong.
Himzo - Himzo (1970)
🎉
They have no voice.
Counting Crows - August and Everything after (1993)
Lost in a sea of generic production, Adam Duritz delivers a vocal performance that feels more like strained whining than singing. It’s a tough sell. "Mr. Jones" was already an irritating track back in 1993, and watching Adam struggle through the music video doesn't exactly make it easier to digest. At its core, the band shows some genuine musicality—the harmonica player, in particular, is quite skilled—but the listening experience is ultimately undermined by a vocalist who seems determined to push through every note with an annoying, pseudo-emotional wail.
Dido - Girl Who Got Away
This actually sounds remarkably similar to her debut album. However, if there’s any real hope for Didou to pull off a true comeback, it would require a pivot—something like a dance record or a complex, aggressive electronic collection. Once she stops leaning so heavily on her vocals, that's when things will get interesting.
Gorillaz - Plastic Beach (2010)
I remember spending a long time obsessing over whether I should pick up a copy of their debut as soon as it dropped. For some reason, I don't recall Damon Albarn ever getting under my skin back then, nor did I find the whole concept of a band made up of cartoon characters particularly appealing—it felt about as exciting as a root canal. In the end, I pushed through my hesitation and walked away with another valuable lesson in keeping an open mind. Unfortunately, the exact thing I was dreading all those years ago eventually became a reality with Plastic Beach.
Sun Electric - Sun Electric (1995)
Deep, ambient techno vibes—perfect for a chill-out room like the one where this was recorded (I'm assuming?). It feels somewhat similar to certain tracks from The Orba around that same era, though I think I actually prefer this direction.
Michael Rother - Flammende Herzen (1976)
It’s a solid listen. The title track kicks things off with some bright, melodic guitar lines, backed by really engaging drumming from Jaki Liebezeit. "Zyklodrom" starts out with an ambient vibe before shifting gears into something much more intense. Then you have "Karussell," which features an unforgettable, catchy Synthesizer riff, while "Feuerland" takes a turn toward the experimental and dark—it actually reminds me a bit of the eerie atmosphere found in Kraftwerk’s "Mitternacht." It just keeps going like that.
Blur - Parklife (1994)
This is a strange collection of empaths hiding behind mild pop songs. The upbeat tracks (like "Girls & Boys," "Tracy Jacks," and "Parklife") might seem catchy at first glance, but they repeat themselves to the point of being borderline tedious. Everyone has one or two albums that are widely considered among the best recordings of their decade or genre, yet for whatever reason, you just can't stand them. Immensely. For me, *Parklife* is one of those records. To provide some context, I wasn't swept up in the Britpop hysteria of the mid-90s (not that my listening habits are inherently superior). In fact, I didn't even pick up this album until around 2001. So, listening to it for the first time—about seven years after its peak—I ran into a simple problem: *Parklife* sounds like total garbage. It feels like the album is trying to be some sort of concept piece where Damon Albarn inhabits different characters to offer social commentary. But that’s exactly where it fails. For instance, "Tracy Jacks" tells the story of some guy walking a dog, but instead of connecting with the character Albarn is trying to portray, I find myself stuck on the terrible vocals and that grating "TRACY JACKS" chorus, delivered in one of the most irritating accents I've ever heard.
Robert Calvert - Captain Lockheed and The Starfighters (1974)
A strange concept album centered on a political and commercial scandal in West Germany during the 60s. It was created by Robert Calvert, a writer, poet, and vocalist with truly one-of-a-kind melodies. This is definitely a record that requires a few listens to fully wrap your head around.