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The Duke Presents The Best Records Of 2004

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This, being 2004, was one of the finest years for pop music I’ve ever witnessed, is the truth of the matter. The amount of solid-gold masterpieces popping up in the shelves of the CD emporiums was baffling. A year that sees not only the return of Morrissey and Prince, not only the hitherto unthinkable development that sees Har-Mar Superstar become as brilliant as he always assumed he was, but also the arrival of SMiLE by Brian Motherfucking Wilson.

Also, dig this; Commercial pop raised it’s game so high that if you squint on a cloudless night you still can’t see it, so far has it gone into the stratosphere. Natasha Bedingfield produced one of the most sublime pieces of three-minute gorgeousity of all ever in the truly outstanding These Words, and then Girls Aloud, a band created by a TV fucking talent show, managed to be as filthily infectious as Christina Aguillera.

Or, indeed, some virus of some kind.

What this all amounts to is that I have slept about two and a half hours in the last fortnight, so daunting was the prospect of assuming what might be “the best”.

I still can’t decide, so these here are in alphabetical order.

Enjoy them, friends. They rule like motherfuckers.

Ryan Adams – Love Is Hell

Love Is Hell was released as two mini-albums in 2003, a couple weeks after the brilliant, bafflingly under-rated Rock N’ Roll. It was given a proper release this year, though, and is therefore eligible as a motherfucker.

What happened was the record company hated it. Where’s the tunes, they asked? Right there, Ryan probably said, pointing at the tunes. It was too little, too late, though. Depressing they said. Miserable. Suicide music, is what you expect us to give to the kids, with their Limping Biscuits and Slippity Nots.

As if the whole Yankee Hotel Foxtrot debacle hadn’t convinced the world that record companies didn’t know their arseholes from someone else’s elbow, this was just about all the proof we needed.

What Love Is Hell amounts to, is Adams’ Blood On The Tracks, a melancholic, deeply pained series of dignified musings on lost love, and how hellish it all is. I just felt like pointing that out in case maybe you missed the title of the record.

In fact, it’s Adams’ second Gosh My Baby Done Me Bad album, and it’s possibly even better than the first one, his mainly-acoustic debut, Heartbreaker.

I See Monsters is also the most beautiful fucking song I believe I have ever heard. “Baby I know you cannot hear me now, cause you’re fast asleep, but I love you now”, supposedly sung to a very close female acquaintance in the last stages of terminal illness. It makes me wanna beat him senseless with jealousy one minute, then have some kind of homosexual encounter the next. It’s beyond shit like “good” or “brilliant” or “masterful”. To paraphrase somebody or other, if the damn thing could be described with text on a damn screen, then the motherfucker wouldn’t have needed to go singing it.

Nick Cave And The Bad Seeds – Lyre Of Orpheus / Abattoir Blues

When I put this in the player, it knocked me half-way across the damn room. What The Duke would suggest, is to start with Abattoir Blues. The deranged evangelical zeal of Get Ready For Love smacks the listener upside the face the second it starts, and proceeds to jump up and down on said individual, smacking the head with the force of twenty-seven tonnes of granite. Although, granted, twenty-seven tonnes of anything would do the same trick.

Granite just seems that bit more appropriate.

These two-albums-as-one have not one solitary below-par track between them, lurching from ecstatic delirium to swampy, croaking, sinister threats with nary a thought for one’s emotions.

Two masterpieces, man. That’s more than, say, John Lennon managed this year. For shame, John Lennon.

Check Out The Full Review From Back In The Day

Dizzee Rascal – Showtime

Let The Duke be the first to admit this shit right here; If you were to tell me, say five years ago, that five years in the future-time, not only would there be no terminators yet, but also, the three best hip-hop records of the year would be UK in origin, I would’ve laughed in your face, phoned the police, and hid under a shed until you were locked up with both feet tied behind your head.

No motherfucker could’ve seen this coming. Not even Nostradamus, although, granted, he figured the world would’ve ended by now, if those web-sites are to be trusted.

Maybe he just concocted that shit on account of it was more believable than the three best hip-hop records of the year being British.

“Go screw yourself Nostradamus. Fire and death and Nazi’s we can accept, but British hip-hop that’s worth a damn? What kind of prophet are you, anyhow? Some demented fucking variant, that’s what I’m starting to assume. Why can’t you be more like Joseph?”

And so on and so forth.

Truth be told, like a few of the records on this list, Showtime didn’t strike me upside the teeth like I had expected on first listening. It was fantastic, of that much we could be sure, but it didn’t seem just as fantastic as the stunning predecessor, Boy In Da Corner. The more it span round in the old CD player, though, the more alive the thing became, and what had initially seemed a somewhat dour affair ascended hitherto undetected heights.

And that voice, man. That piercing yelp penetrating even the densest of Rascal’s self-produced soundscapes. It’s enough to make a man boil with rage. I mean come the hell on, the fella’s only 20 years old!

Drive By Truckers – Dirty South

I’ve loved these maniacs since back when they sang about The night GG Allin Came To Town, but with this here they truly out-did themselves. A series of vignettes dealing with numerous aspects of life in Tha South, this was the alt. country equivalent of 2003’s stunning Deliverance by Bubba Sparxx.

If there’s a more beautiful song about tornadoes than Tornadoes, then I’ve yet to hear the allusive motherfucker.

Green Day – American Idiot

For some reason everybody got all surprised when Green Day shoved yet another masterpiece into their ungrateful fists. The Duke experienced not shock, however, but relief. I knew these motherfuckers were capable of this kinda wonder. Anybody who’s trailed them from Smoothed Out knows full well that the derision utilized by the press when discussing them was always woefully off-the-mark.

9 minutes of Jesus Of Suburbia later, however, and the world wakes up. Now go get your filthy hides in the direction of Insomniac, would you ever?

Check Out The Full Review From Back In The Day

Har Mar Superstar – The Handler

Who’d a thought a fella who bears such resemblance to both Frodo Baggins and Ron Jeremy would be producing the funkiest record of the year? A record that out-Princes even Prince. What the hell has the world come to? Har Mar Superstar looks like he should be flinging jewelry into volcanoes, not producing solid gold wonders like this right here. Who the hell does he think he is?

The God of all funk, is who he thinks he is, and the worrying thing is that, pretty much, he’s right. Bow down to him and fling your underwear at his balding skull, is what The Duke suggests.

Step out my damn way, James Brown, is what Har Mar has to say about the funk hierarchy. Y’all better be getting me a motherfucking throne, is what. Get up off that thing is right. Get off it and fuck off. It’s the Har-Mar buttocks that’ll be gracing that plateau from now the hell on.

The tunes on this thing are enough to level those council estates Skinnyman’s so damn obsessed with. D.U.I, Transit, Alone Again (Naturally), the damn thing never pauses for to even think about maybe taking a breath one day. It sounds alive, dripping with the oils of sun-kissed drunkards.

Enough to make a man tear his hair out and gain four stone, is what, in the hope that maybe an ounce of that genius is cosmetic.

Check Out The Full Review From Back In The Day

Kasabian – Kasabian

So what happened was The Beta Band broke everybody’s blood-pump into messy, gore-strewn tatters when they announced that sorry, folks, we’re a bunch a hippies and we can’t be bothered making no more records. In addition, Oasis seem to have been recording the same damn album for the past two years, going through producers like nobody’s business.

Imagine the hurrahs emanating from Mondo Towers, then, when these bunch a motherfuckers by the name of Kasabian release a record that sounds like nothing less than Oasis jamming with The Beta Band, with maybe a few of those Stone Roses wandering in and out the studio for to lay down some phat shit now and again.

Psychedelic without resorting to prog-rock wank, Kasabian also managed to invoke the spirit of the much-missed Verve, except without the more obscenely “trippy” dalliances. Shit like Processed Beats and Club Foot sounded phenomenal, and merged dance music with rock as seamlessly as those Happy Mondays cats, when they could be dragged away from the pipe for five minutes.

Libertines – Libertines

As if The Duke hasn’t waxed enough about how these fellas are just about the finest thing since sliced bread plugged in a Strat way back when, here they are again, producing a fragile, raw, achingly tender masterpiece. Some folks wanna yack about “It isn’t as good as the first one… it doesn’t have any tunes… fucking blah blah blah”. It’s a bit like comparing In Utero to Nevermind, is what, and just like Nirvana’s last “proper” release, The Libertines is a seriously misunderstood piece of work.

Also, it’s a masterpiece. That right there’s another link we can draw, another parallel. Something else for to join up with chalk.

“It’s all about drugs and about how the one who sings sometimes hates the bollocks off of the one who sings the other times and so on and so forth.”

Such bantering is to ignore the fact that most of these songs actually pre-date the debut, and whilst a buncha them (notably Music When The Lights Go Out) are granted a certain poignancy in light of recent events, to assume that this speaks to no-one outside of The Libertines immediate circle of Bohemian acquaintances, is to go so far past the point that probably you’re staring at its arse.

Mick Jones has captured a band on the brink of (hopefully short-term) implosion, has committed to wax (or shiny stuff, in this age of your Compact CD’s and what the hell) recordings of such vitality, such urgency, and such motherfucking beauty, that it almost feels wrong to be listening to it with anything so mundane as ears.

Of course, it was wrong, if by chance you were one of those peg-legged sons a bitches who grabbed it off of the web-net a fortnight before release.

Shame on you, is what. Tuts in abundance, man.

Check Out The Full Review From Back In The Day

Loretta Lynn – Van Lear Rose

I didn’t know what to expect when Loretta Lynn announced she was teaming up with Jack White of The Von Bondies or The Strokes or some “hip” band or other. I would’ve put down a load of the green, though, for to bet that it was gonna be a stark American Recordings-style affair.

Instead, what arrives is an unearthly, ethereal creation, a record that sounds like pretty much nothing else this year, certainly nothing else in Lynn’s back catalogue, and filled with the finest songs she’s written since back when some motherfucker tried to put her wings upon his horn.

Stand out moments include the opening title track, the stunning debut with White, Portland Oregon and the densely atmospheric Women’s Prison.

Jesse Malin – The Heat

Malin’s debut, The Fine Art Of Self-Destruction, was a ragged, torn affair, with the ex-D-Generation frontman’s wailing Neil Young-esque vocals high in the mix. Taking over from Ryan Adams, who produced the first record, the self-produced follow-up was a much more cinematic affair.

On first listen, it appeared somewhat of a disappointment. Couple spins later, however, I was in love with this to such an extent that even the hole in the CD started to look attractive.

I’m not proud of this shit, man. I just hope others can learn, is what.

So what we get here are amazing, soaring ballads and hard-luck narratives swamped in reverb-laden, otherworldly arrangements and balls-out, pounding rock n’ roll.

Also, Mona Lisa name-checks Shane MacGowan, so obviously it rules.

Check Out The Full Review From Back In The Day

Morrissey – You Are The Quarry

Comeback Of The Year #1

To be all the honest in Kansas, I didn’t for a second imagine that Stephen Patrick would release a record this year. All that fucking around with record companies and hiding in LA and doing not much of a damn thing seemed to suggest that, flawed as Maladjusted may have been, we may as well start assuming it’d be the last we’d hear of Morrissey for a long, long time.

Imagine the motherfucking shock, then, when not only does this record arrive, but it ends up being one of the finest things the man has ever crafted. Not only this, but it sparks a full-blown renaissance, with even the NME (who famously fell out with our bequiffed hero back when he was busy flailing Union Jacks about without having the decency to wait until Oasis were doing it) getting down for to lick his boots and so on in a celibate, plutonic manner.

The tunes contained in this thing are enough to have a fella buzzing like a telly too close to a mobile. Certainly the lyrics are occasionally clumsy, but even the senseless nostalgia of, say, Come Back To Camden is granted a sweeping majesty by the jaw-dropping arrangements, the life-affirming melodies.

Too many gorgeous moments to even begin singling any out, so best just to announce something along the lines of how I Have Forgiven Jesus and Let Me Kiss You are two of the finest songs of the past five years.

Check Out The Full Review From Back In The Day

Prince – Musicology

Comeback Of The Year #2

There was a lot of buzz and general hoopla surrounding the release of this record, all about how Prince had “returned to form”, i.e., managed to string a coherent melody together in under three minutes for the most part. It’s the most commercial thing he’s done in a decade, but sod that if the tunes had sucked. Thank God, though, they’re catchy as that hospital virus everyone’s washing their hands fleshless over, although much nicer to have around.

No doubt he just felt like showing those young pretenders like Outkast and that Timberlake goon how a man needs to go about shaking his ass with authority.

Selfish Cunt – No Wicked Heart Shall Prosper

With a name like that, it was pretty obvious that Ryan Adams-esque laments were never on the cards. Who’d have guessed their version of Bobby Brown’s My Prerogative would be so thrilling, though?

Fuck you Britney Spears, is what Selfish Cunt would like to announce.

The original material surrounding this most left-field of covers was equally stunning. By terms terrifying and exhilarating, Selfish Cunt channel the spirits of The Fall and P.I.L with nothing more than detuned guitar, a frantic drum machine and Martin Tomlinson’s sneering, antagonistic vocals.

The opening Corporate Slut sounds like a motherfucking riot, and if you thought shit like Fuck The Poor, Britain Is Shit and Authority Confrontation were gonna lessen the pace any, you better get the old brains looked at, since they’re obviously screwed to the guts.

Check Out The Full Review From Back In The Day

William Shatner – Has Been

I still can’t believe this shit, is what. Look. It’s a Best Of 2004 list, and there’s William Motherfucking Shatner sitting alongside the likes of Loretta Lynn and Selfish Cunt.

Incidentally, that’d be just about the best dinner-party a man could ever hope to gate-crash.

This shit here is so far-fetched that if it was the plot of one of the sonna bitches telly shows about space you’d fling a remote at the screen. Distant civilizations I can buy, Shatner, but you doing a credible Common People? Get the fuck off my television.

Funny, humane, witty, cool as all frozen Nebraska, and genuinely unique, in an era when folks wanna complain about “I want something different”, and then when they get it, they ignore it, on account of I think Simon Cowell’s produced another record about “baby”.

Check Out The Full Review From Back In The Day

Skinnyman – Council Estate Of Mind

Well this was a pleasant surprise, is what. Although Skinnyman had been doin’ the hip-hop thang for next to forever, this was as much as The Duke had heard of him;


This right here, though, his debut record proper, was nothing short of stunning. Inter-cutting the tracks with lengthy speeches from Alan Clarke’s Made In Britain, Council Estate Of Mind seems less of an album than an impassioned address to Britain’s working class youth.

Lofty and pretentious that might seem, but it works, and works in a way folks hadn’t heard since back when Billy Bragg first plugged the hell in for to sing about “When one voice rules the nation…” and so on.

He talks about other things, too, like the music business, for example. The bile evident in Fuck The Hook is enough to have a man’s home smelling of pure orange juice for weeks.

Todd Snider – East Nashville Skyline

The Duke has been singing the praises of this fella over on The Mondo MP3 Digest for some time now, and with good reason, is what. East Nashivlle Skyline sounds like Another Side Of… era Bob Dylan, a playful set of mostly acoustic based songs, dealing with both the political and the personal.

Every damn track is a winner, from the opening Age Like Wine (concerning a rock star who’s “Too old to die young, now”) through Alcohol And Pills (detailing the addictions of Hank Williams Snr. And Elvis Presley, amongst others), the brilliant Conservative Christian, Right-Wing Republican, Straight White American Males (about how the folks of the title detest “tree-huggin, peace-loving, pot-smoking, porn-watching lazy ass hippies like me”) to the closing rendition of Enjoy Yourself, East Nashville Skyline has a fella smiling like a goon one minute, then angry as all fuck the next.

A startling piece of work.

If you hurry, you can hear Conservative Christian… at the MP3 Digest before it goes off next week.

The Streets – A Grand Don’t Come For Free

Just edging out Skinnyman and Dizzee, Mike Skinner offered us mere wretches the finest hip-hop record of 2004. A concept album, would you believe, full of the kindsa minute observations worthy of the finest of stand-up comedians.

Chorus of the year;

“I saw this thing on ITV the other week,
Said that if she plays with her hair she’s prob’ly keen,
She’s playing with her hair well regularly,
So I reckon I could well be in.”

Not for Skinner the bling nor the bravado nor the rat-a-tat-tat. Whilst So Solid Crew were squandering their potential by indulging in the kinda uber-macho gang squabbling that so blighted US hip-hop eventually, The Streets were producing records that folks could actually relate to.

When you live in a council estate in The County Antrim, you don’t see many drive-by’s. There ain’t many “turf-wars” going on in the back field.

“Dry your eyes, mate. I know you want to make her see how much this pain hurts, but you’ve got to walk away now, it’s over…” That was shit a man could nod knowingly to, and then cry over for much of the friggin weekend.

Brian Wilson – SMiLE

Comeback Of The Year #3 – Album Variant

I don’t even know what to say about this, man. It’s a soul-scarring experience. The sound of a fella going so far over the edge that it takes him thirty years to crawl back and assess the results.

A hymn to some mythical American landscape, a “teenage symphony to God”, a heart-breaking masterpiece.

It’s not that often you wanna hug a record. If it gets you in the right mood, this thing will reach into your motherfucking being and touch your spirit.

Also, goes someway towards redressing the shameful lack of bovine in pop music.

Well, that’s your lot folks. Between now and sometime later, tracks from these records will be peppering The Mondo MP3 Digest, so go have a look, have a listen, and then buy the motherfuckers.

Thanks folks.

The Duke resides at Mondo Irlando

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About The Duke

  • My list:

    Encore – Eminem
    Feedback – Rush
    Shangri-La – Mark Knopfler
    Around The Sun – REM – *****
    The Kill Bill 1/2 soundtracks
    Smile – Brian Wilson – *****
    Good News For People Who Love Bad News – Modest Mouse
    The New Danger – Mos Def

    Great reviews, Duke – you’re one of the reasons that attracted me to blogcritics

  • Good list Duke!

    I’ll be wrapping up the year from And We Danced soon and making lists within our dance music contribution. Most likely Prince will be the only which appears on our lists and yours.

    But…that’s not to ignore that there was a lot of great music this year outside of the dance realm.

    I’m still blown away by the Loretta Lynn album. It’s hard to get people to listen to it, but once you hear it, you will understand why critics salivate all over it.

    And I wasn’t shocked by the Green Day set either – they have been a very good, nearly great, band for a long time now.

    Then…the Brian Wilson album and the unearthed Clash tapes appeared on the same day this past fall!! Yeah, it was a good year.

  • dead on about ryan adams…

  • Thanks folks.

    Aaman, Eminem ALMOST made the grade. Certainly it’s a stunning record, and a hell of a lot better than The Eminem Show. And thanks for the kind words 🙂

    Bill, i’ll look forward to your list, although, as you may have gathered, i’m pretty shamefully lacking in knowledge concerning the old dancin’ and so on. The best dance record i heard recently was the second 2 Many DJ’s album, although i think that’s 2003.

    As to The Clash, i should really have done a bit about re-issues and so on (although those Vanilla Tapes are hardly re-issues)

    London Calling, the Nirvana set and the expanded Village Green Preservation Society by The Kinks, for example, would all have been there.

    And gifts, obviously you too know the wonders of this prodigiously talented troubadour.

  • Most of the records you highlighted are on my list too! Except Dizzee Rascal (I just don’t get it, not yet anyway) and Green Day (although it’s the best album I have heard by them I’m still underwhelmed)

    Most critics agree with you however. I am glad to see you included the William Shatner / Ben Folds album which really took me by suprise. Kinda like a brick to the head.

    Some of my others include:

    Killers – Hot Fuss
    Moving Units – Dangerous Dreams
    Autolux – Future Perfect
    Modest Mouse – Good News For People Who Love Bad News
    Muse – Absolution(#1?)
    Iron & Wine – Our Endless Numbered Days
    The Polyphonic Spree – Together We’re Heavy
    Ray Lamontagne – Trouble (#1?)

  • Bill Lamb,

    Do not forget the new Duran Duran – surely a candidate for dance album of the year

  • HW Saxton

    Duke D’Mondo,Your inclusion of Dizzee is
    highly laudable. I really dig “B.I.D.C”,
    but haven’t gotten into “Showtime” yet.
    I’ve given it a few listens but it just
    seems to lack the punch of the first CD.
    Maybe it’ll grow on me with time.

    Unfortunately, I don’t think he’ll ever
    break really BIG stateside.He’s just too
    British. Most US hiphop fans like their
    funk homegrown, plus he’s unintelligible
    to my ears on a lot of cuts(UK slang and
    all)which definitely won’t help him on
    this side of the pond. Nevertheless he’s
    talented as all great give a fuck. Ditto
    for Mike Skinner.

    Anyway, Here’s my Top Ten for 2004 not
    that anyone besides me gives a fat fuck:

    1)Nathaniel Mayer- I Found Out
    2)J-Zone – A Job Ain’t Nuthin’ But Work
    3)Tom Waits – Real Gone
    4)Black Keys – Rubber Factory
    5)Dirty Dozen Brass Band –
    Funeral For A Friend
    6)Capleton – Reign Of Fire
    7)Wolf Eyes – Burned Mind
    8)Nancy Sinatra – S/T
    9)V/A – Not The Same Old Blues Crap V.3
    10)Quintron – The Frog Tape

    Peace,Love & Soggy Chips.

  • HW, i imigine the slang thing might be hard to get ones head around, but its not exclusive to folks outside the UK – Half times i dunno what the hell he’s yelpin on about either. Fuckin sounds great tho, whatever the hell it is.

    Also, i was intrigued by the mention of these Modest Mouse folks, so i went and got hold of a copy. For some reason i assumed they were a dance band (maybe cause of all the danger mice and felix tha housecats and so on). Good god almighty… How fucking sweeeettttt!!!! is that record?
    It’s like the flaming lips but a bit more approachable…

    “my thoughts were so loud i couldn’t hear my mouth” Great great stuff

  • arggghhhhh i hate these fuckers!!! how good is that “float on”???? Wht can’t folks be shit for ten damn minutes any more? God almighty. I hate them. Noone should be this good in a year when everyone else is so good!! who the hell might give whining sons a bitches like The Duke two seconds of ear-space in an era of stunning shit like this!!! Fucking hell bastards

  • rotflmao – stay away from Mos Def’s new album, then

  • — shakes head and sighs —

  • Smenkharon

    Great list! LL, Shatner, Prince and the Streets will all probably make my year end list. So many other good albums that picking 10 will be difficult. I am pretty sure my list will include Saul Williams-Fader Label and Jello Biafra and the Melvins-Never Breathe What You Can’t See. I am picking up the Kaada/Patton-Romances album today and I have high expectations for that disc. I will also be considering Tom Waits-Real Gone, Handsome Boy Modeling School-White People, Bjork-Medulla, Madvillain-Madvillainy, Ramm Ell Zee-The Bi-Conicals of the Ramm Ell Zee, Franz Ferdinand-S/T, Scissor Sisters-S/T, and K-OS-Joyful Rebellion. All in all, it was a great year for my music collection!

  • Duke – Did you happen to catch the Honeydogs’ 10,000 Years? Best album of 2004, in my opinion.

  • I’m trying to think really hard if I actually went to a record store looking with anti-ci-(say it!)pation to buy an album. Is there anything more boring than a record store?

    So, instead, I’ll look at what I’ve enjoyed. Extra to the Nick Cave and William Shatner (you really need to see “Free Enterprise” for his rap version of “Julius Ceasar”).

    The Pixies – live tour recordings from their reunion.
    Tom Waits – Real Gone
    The Kleptones – A Night At The Hip-Hopera.zip
    David Thomas – 18 Monkeys on a Dead Mans Chest
    Camper Van Beethoven – New Roman Times

    Mostly this year, it’s been hearing a couple of international corporations telling me how much they hate me. And the best advice in an abusive relationship is just to walk away.

  • Smenkharon, i loved the franz ferdinand record, but thought it was a tad repetitive. Scissor Sisters also was fantastic in an early Elton John sorta way. great stuff.

    Alex, i didn’t get around to that one – therein lies the problem with these things, you dont get to hear EVERYTHING so it’s a bit pointless, other than as an excuse to swear entertainingly of course. heh

    Jim, surely browsing the aisles of the record emporium is a joy bettered only by browsing through a video store. If said emproiums are combined in some manner, then it’s all very close to sinful, i’m guessing. Best to wait a fortnight between expeditions, though, is what i would suggest, so as they get time to put in new stuff. It becomes strangely soul destroying lifting and setting back down the same stuff every day. “oh, a record i’ve picked up every day for the last four years. Best have another look at the tracklist, and then just set it back down.” again and again.

    The Tom Waits record sounded interesting to me, but not neccesarily something i loved, if you get the drift and such. A bit like Bjork’s record. Inventive and admirable, but not really to my liking as a whole.

  • “Has Been” is a wonderful album, Duke – thanks for the reference – it’s now near constant listening – possibly will be appreciated even more in my own twilight years.

  • glad to be of service, Aaman. Spreading the word of Shatner is a joy unto itself, if only to see the suprised looks when Has Been reveals itself to be a touching, humane masterpiece rather than the kitsch (if highly enjoyable in a bizarre kinda way) psychadelia of Transformed Man.

  • also, although i don’t agree with this in the slightest, i found this to be rather amusing. Selfish Cunt have just released My Prerogative as a single, and i found the NME review highly amusing. “Further proof that Selfish Cunt are the best band in britain, untill you actually hear them, at which point they become the worst.”