“I Do Not Want What I Haven’t Got became Sinéad O’Connor’s popular breakthrough on the strength of the stunning Prince cover “Nothing Compares 2 U,” which topped the pop charts for a month. But even its remarkable intimacy wasn’t adequate preparation for the harrowing confessionals that composed the majority of the album.”
– Steve Huey (allmusic)
I Do Not Want What I Haven’t Got is the second album by Sinéad O’Connor, released 20th of March in 1990 on Ensign/Chrysalis Records. It contains O’Connor’s version of the Prince song “Nothing Compares 2 U”, which was released as a single and reached number one in multiple countries. The album was nominated for four Grammy Awards in 1991, including Record of the Year, Best Female Pop Vocal Performance, and Best Music Video, Short Form for “Nothing Compares 2 U” Continue reading “March 20: Sinéad O’Connor released I Do Not Want What I Haven’t Got in 1990”→
The Idiot is the debut solo album by Iggy Pop. It was the first of two LPs released in 1977 which Pop wrote and recorded in collaboration with David Bowie. Although issued after Low, the opening installment of Bowie’s so-called Berlin Trilogy, the pair began writing and recording songs for The Idiot in mid-1976, before Bowie started work on his own album. As such, The Idiot has been claimed as heralding the unofficial beginning of Bowie’s ‘Berlin’ period, being compared particularly to Low and “Heroes” in its electronic effects, treated instrument sounds, and introspective atmosphere. A departure from the hard rock of his former band the Stooges, the album is regarded by critics as one of Pop’s best works. Its title was inspired by Dostoyevsky’s novel The Idiot, three of the participants in the recording—Bowie, Pop and Tony Visconti—being familiar with the book. I will argue that there’s really a “Berlin-quintet” consisting of: The Idiot, Low, “Heroes”, Lust for life and Lodger.
Iggy Pop’s The Idiot, is equally a David Bowie album as a guest singer/composer; Davis Bowie co-wrote all the songs (except Sister Midnight that was co-written with Carlos Alomar and David Bowie) , played many of the instruments and produced it (kind of…). Tony Visconti tried to salvage the over-modulated tapes at the mixing stage.
March 18, 1977
July 1976 – February 1977,Château d’Hérouville, Hérouville, France, Musicland Studios, Munich, Hansa by the Wall, Berlin
Post-punk, art rock
David Bowie (and Tony Visconti)
“Poor Jim, in a way, became a guinea pig for what I wanted to do with sound. I didn’t have the material at the time, and I didn’t feel like writing at all. I felt much more like laying back and getting behind someone else’s work, so that album was opportune, creatively”
– David Bowie
So, Iggy Pop acted as a guinea pig. David Bowie seemed tired of his ever-changing narrative or masks, so he used the opportunity making an Iggy solo record as a way to start re-inventing himself as well as Iggy. Iggy Pop and David Bowie worked extremely well as a team.
(oo) What you want (oo) Baby, I got (oo) What you need (oo) Do you know I got it? (oo) All I’m askin’ (oo) Is for a little respect when you come home (just a little bit) Hey baby (just a little bit) when you get home (just a little bit) mister (just a little bit)
“While the inclusion of “Respect” — one of the truly seminal singles in pop history — is in and of itself sufficient to earn I Never Loved a Man the Way I Love You classic status, Aretha Franklin’s Atlantic label debut is an indisputable masterpiece from start to finish.” ~Jason Ankeny (allmusic.com)
I Never Loved A Man The Way I Love You (Amsterdam 1968):
“With his new album, I Feel Alright, Texas-raised Earle turns a middle finger to Nashville and screams, ”Chuck it, I’m rockin’ out!” And that he does.”
– Alanna Nash (Entertainment Weekly)
“…like Train a Comin’, I Feel Alright shows Earle finding the courage and confidence to make a record just the way he wants, and this may be Earle’s finest hour in the studio — the production is tough, resonant, and a perfect match for the material, the players bring their A game without showboating, and Earle’s rough but passionate vocals are pure, honest, and direct on every cut.”
– Mark Demming (Allmusic) Continue reading “March 5: Steve Earle released I Feel Alright in 1996”→
The first two things I wrote were Guitar Town and Down the Road, because I was looking for an opening and an ending. So I wrote ’em like bookends, and then filled in the spaces in the middle. And the album’s kind of about me. It’s kind of personal.
~Steve Earle (to Alanna Nash – May 1986)
Guitar Town was his first shot at showing a major audience what he could do, and he hit a bull’s-eye — it’s perhaps the strongest and most confident debut album any country act released in the 1980s.
~Mark Deming (allmusic)