City Of Sound

A Rough Guide To Gradings

As I will be writing for The Rock this year I'm bringing my grading system into line with theirs. Here is how it works.

A song is awarded points on a scale of 0 to 3, where 0 is considered to be crap, 1 average, 2 good and 3 classic. We add up the total and then divide it by the total points available - for ten songs that will be 30 (3x10), 11 songs 33, and so on. This figure is then multiplied by 100 to achieve the magical % rating.

Of course it is not an exact science and the rating is still very much a matter of opinion. Anything between 60-70% has to be considered a strong effort while you won't come across much above that very often.

100 - 91 Classic 50 - 41 Patchy
90 - 81 Essential 40 - 31 Below Average
80 - 71 Brilliant 30 - 21 Bad
70 - 61 Very Good 20 - 11 Very Bad
60 - 51 Good 10 - 00 Delete

October '98

MARILLION
RADIATION
RAW CD 126
75%

With their tenth studio album Marillion continue to experiment and bring new angles to their music. After the Noel Coward-esque intro piece "Costa Del Slough" the album gets going with "Under The Sun", which is already proving its worth in the live environment, heavier than usual with a more modern groove from Ian Mosley. "Answering Machine" continues the heavier direction and has strong echoes of early Marillion, the guitar and keyboards (including a solo from Mark Kelly) sounding like the early 80s all over again. Hogarth's vocals (sounding like an answering machine message) have a very English folk inflection to their delivery. Another highlight. "Three Minute Boy" has a very Beatles feel, but soon builds into more typical Marillion fare. The simple, acoustic based "Now She'll Never Know" has a beautifully fragile vocal from Hogarth which just shows what a truly amazing singer he is. "Born To Run" is an experiment in blues and doesn't do much for me personally. "Cathedral Wall" is a Marillion "builder" and takes cues from "Brave" and "Clutching At Straws", nothing instant or commercial here. Add the intensity of "King" and you have another highlight. "A Few Words For The Dead" is my favourite track, I love the way the band join Hogarth after 6 1/2 minutes of ambient style atmospherics - I wonder if they would have written this prior to the Positive Light collaboration? Should be interesting if they do it live. A stunning way to close the album. As usual this isn't an instant listen but Marillion albums usually reward a bit of effort from the listener. Perhaps not classic Marillion but I'm sure a few of these songs will be around in the live set for some time to come. It's good to see that after 10 albums the band is still keen to explore and expand there sound.

Harem Scarem

HAREM SCAREM
BIG BANG THEORY
WEA CANADA 2 24208
70%

Harem Scarem's fifth album "Big Bang Theory" has certainly stirred up a lot of controversy. From the musical changes to the running time, to the mercenary attitude of the record company "BBT" looks set to become Harem's most controversial record to date. The major fuck up is the way the track listing has been confusingly chopped and changed for Japanese and Canadian markets. HS are very close to pissing off a very large percentage of their fan. Onto the music… Harem Scarem appear to be trying to find a NEW direction for the late 90s, after treading water on the (for them) relatively conservative "Believe/Karma Cleansing" album. I think HS have found a way of incorporating their modern influences (where they want to go) with their AOR/melodic rock roots (where a lot of fans want them to go) although judging by the debate on the internet many fans may disagree with me. On "B/KC" I think the band were uncertain about how to move forward (as they had done with each of the previous 3 albums) the result being a mix of "Voice Of Reason" style numbers, revamped "old" songs and attempts at finding a new footing. But despite its flaws I still though "B/KC" was better than most other AOR albums released last year. But it was not HS at there best. The songs on "BBT" could be done in a total AOR way but they could also be done in a VOR style. I really think they have added a new energy to their sound, a new rawer less overblown sound. Perfect for the live environment. I think Darren's drumming has got much looser and really powers the songs along rather than sometimes just plodding along. "Turn Around" - the groove and general vibe on this one made me think of the Wildhearts, it's just the sort of melody and arrangement that Ginger would have written. Modern but very much HS. "Wasted Time" - upbeat rocker driven along by an excellent rhythm section. This one emphasises the rawer sound that was talked about. I can just imagine this one live. They keep it melodic (great hook) and powerful and again very contemporary. My favourite track. "So Blind" - fast paced rocker. I can understand the Foo Fighters reference that the band mentioned. It features a very powerful riff throughout which I can just imagine Dave Grohl thrashing away at. Once again though, HS stamp their own identity into the song. "Without You" - mid paced number to slow things down a bit. Vaguely like "I Won't Be There" but with some nice little different touches here and there. "Climb The Gate" - mid paced to rocky number. Some cool guitar work from Pete on this one. Very melodic but the simple arrangement adds to the power. "What I Do" is totally different to anything I've heard from HS hard to describe but a grower. "Sometimes I Wish" - upbeat, but with a kind of a dark edge during the verse, giving a VOR sound. Interesting sounding solo from Pete. "Lying" - heavy riffs from Pete, great melody and hook from Harry, Pete's soloing is a bit different as well. "In My State Of Mind" - standard HS ballad, this time with Harry at the piano. Nothing special and nothing they haven't done before and better. HS have taken the energy of bands like Foo Fighters/Wildhearts and given their own melodic rock sound a damn good slapping. If you only like the debut or "Mood Swings" approach with caution, for the more open-minded "Big Bang Theory" is HS back on track and moving forward once again.

Emm Gryner

EMM GRYNER
PUBLIC
A&M 314 558 460-2
73%

This is one that has really grown on me since getting it a couple of months ago. I liked it straight off but ever since it arrived I have been constantly playing this excellent cross between Sheryl Crow rock and Natalie Imbruglia pop/indie. Some great songs are to be found here ("89 Days Of Alcatraz", "Acid", "Death Is A New Day", "Hello Aquarius") but "Summerlong" takes top honours. Canadian Emm Gryner has produced an excellent set of songs showcasing a knack for writing great songs. The sooner Polygram get this released in the UK the better. Recommended.

Hanne Boel

HANNE BOEL
NEED
MEDLEY/EMI 4946202
70%

The latest album from Danish singer Hanne Boel is a very interesting set. Imagine a more accessible "She" era Dalbello, if that gets you drooling then this is one CD to track down immediately. Great vocals, imaginative arrangements all go to make this a terrific album.

Anggun

ANGGUN
SNOW ON THE SAHARA
EPIC EK69105
61%

Lush adult pop is the order of the day on French based Anggun's debut album. Her exotic vocals have a hint of Sade, and lack none of her sexy soulfulness, but Anggun's are more powerful and richer. Exotic eastern/asian influences creep into the music and help bring an identity to the superbly played music. Well worth checking out.


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Peter Sims
Last update 11th October 1998
Created 11th October 1998 © Peter Sims