GIGSLUTZ ALL TALK: Which album would you like to see performed in full?

Welcome one and all to All Talk, a new feature where our amazing team of writers will tackle questions inspired by the biggest news stories in the world of music. This first installment follows on from the announcement that the Jesus & Mary Chain will perform their epochal debut ‘Psychocandy’ in full at a series of UK dates this year. Buzzing with excitement, we thought: of all our favourites, WHICH ALBUM WOULD YOU MOST LIKE TO SEE PERFORMED IN FULL? And because we are above all a spoilt, indecisive lot we had loads of different choices which you can read for yourselves below!

You can send us any questions you’d like us to answer by Twitter (@Gigslutz_) using the hashtag “#AllTalk”, via Facebook. Only the best will be featured so be as crazy, obscure, and entertaining as possible!

Dan Bull

The album I’d like to see performed in full is Arctic Monkeys’ ‘AM’, but I’m going to be specific and say I wouldn’t want it in a huge outdoor venue but something more intimate instead. Shepherd’s Bush perhaps, or an old theatre – maybe in Sheffield rather than on Broadway (because they’re not from New York City…). The reason for this is because, while I’m a big fan (and sure I was jumping around with the rest of the #LAAADS during ‘…Dancefloor’ and ‘Dancing Shoes’) I felt that there was a clear divide between these songs and the classics… Perhaps that they have a little more class about them. Alex has written huge modern day anthems for almost a decade now and at Glastonbury and Finsbury Park they do their job, whipping the crowd into a frenzy and transporting them back to their (fluorescent) adolescence, but I agree with the point on David’s review that “there was more room in the tank”, and I think what was needed to fill it to the brim was the likes of ‘When The Sun Goes Down’, ‘Mardy Bum’ and ‘Teddy Picker’. ‘Number One Party Anthem’ and ‘Fireside’ are stunning songs, but it felt like the crowd used them as excuses to take a breather, whereas an audience who knew that they were paying for ‘AM’ only could absorb every falsetto, every heartfelt line and every minimalist Monkeys moment. We’ve seen Alex transform from a spotty teen to a spotlight thief, and – as a fan of the “showmanship shit” – it would be interesting to see how dramatic he could be treading the boards on a permanent stage.

Junior Cobbinah

LIBS-ALBUMI’d like to see many albums played in full live, from ‘Up The Bracket’ by The Libertines to ‘Lonerism’ by Tame Impala and more. However, I settled on ‘Primary Colours’ by The Horrors, simply because listening to the album is like jumping onto a runaway train that is going at 100 miles per hour and you don’t really know where it’s going to go but you want to stay on it to see where you end up and by the end, you have immensely enjoyed it and you really want to go on it again. The album creates a dark, tense atmosphere that would only intensify when hearing it live and it has the perfect variety of bounce-able, mosh-able, sing along-able and swayable songs that would allow a crowd to fully enjoy this album live, also ‘Sea Within A Sea’ would be an incredible song to see played live, especially as the finale…it’s an 8 minute long masterpiece!

 

Melissa Svensen

I spent far too long trying to pin down one album; it’s impossible not to. Anyone who claims to know exactly which album they would like to see performed in full without at least a day’s thought is either lying, or doesn’t listen to enough music. While I could have gone for something a little more ‘classic’ – ‘The Rise and Fall of Ziggy Stardust…’ actually came to mind initially – I’ve decided to be super original and go for a recent album: Paulo Nutini’s ‘Caustic Love’. It’s a strange choice, I’m fully aware of that, but it is in album that works in its entirety. The songs (interludes included) flow so perfectly that to listen to it with interruptions is almost insulting. ‘Caustic Love’ is exactly what you want from an album, particularly one to be listened to in full – it’s a rollercoaster of emotion, and, although the songs may not be completely connected, there’s a definite love story being told. As clichéd as it sounds, nothing would be more fitting than to listen to Paolo playing through ‘Caustic Love’, lying on a field in summer (preferably somewhere warm). From the energetic funk of ‘Scream (Funk My Life Up)’ to the slower ballads on the album, this album feels complete, but there’s also an uplifting simplicity in this album, thus making the idea of it being performed live in full seemingly perfect. So although numerous other albums could have been chosen, and arguably should have, ‘Caustic Love’ is a definite contender.

Paul Sng

A triple album that clocks in just shy of three hours and composed of 69 songs – each from a different musical genre – is not the easiest thing to reproduce in concert. Songwriter Stephin Merritt originally conceived ‘69 Love Songs’ as a theatrical review of show tunes to demonstrate his musical versatility. From the folk ukulele of ‘Absolutely Cuckoo’ through to the Cole Porter parody of ‘Zebra’, the album draws on a diverse range of styles and influences to deliver an eclectic range of songs with one common denominator: love. If that sounds soppy, think again; one listen to the a capella ‘How Fucking Romantic’ will dispel any notion that this is a collection of sentimental mush. Highlights include heart-breaking piano ballad ‘I Don’t Believe in the Sun’ (“The moon to whom the poets croon has given up and died/Astronomy will have to be revised”), love letter ballad ‘Come Back From San Francisco’ (“Should pretty boys in discos distract you from your novel, remember I’m awful in love with you”), the Scott Walker-esque ‘Parades Go By’ (“For time is all I have to keep, between these walls and half asleep”) and the exquisite ‘I Don’t Want to Get Over You’ (“I could make a career of being blue, I could dress in black and read Camus”). The Magnetic Fields have played the entire album live on seven occasions (spread over two nights) since the album’s release in 1999; sadly, I wasn’t present at any of them. Here’s hoping they revisit their magnum opus again one day.

Emily Burke

I am not ashamed to admit that I do not do well at gigs, especially particularly loud or energetic ones, as I am short, and tend to get claustrophobic. However, I would happily endure 56 minutes and 22 seconds of elbows to the face and laboured breathing to see ‘Fake History’ by letlive. performed live. Starting with a short and snappy introduction (‘Le Prologue’) that builds before exploding seamlessly into the first full length song, ‘The Sick, Sick 6.8 Billion’, the rest of the album follows suit, with various other tracks blending into each other too, just in case the listener is thinking of stopping to rest. The album is relentless from start to finish, switching between genres fluidly and with apparent ease – something that more well- known bands have struggled with. The track I would most like to see would be my favourite from the album – ‘Muther’, featuring Chelsea Warlick, which initially seems like it’s going to be a long 6 minutes of more intense, post-hardcore lamenting, but in fact switches into a catchy, piano-led end in the last two minutes (which would mercifully give me time to rest). Though I would come out bruised, gasping for air, and most likely covered in my own and other people’s sweat (and God only knows what else), seeing such an impressive album performed live would keep me fired up and staggering on to the bitter end.

Corrine Corrodus

Arcticmonkeys-humbug

It may seem hard to believe but there was a time when Alex Turner didn’t resemble a member of the T-Birds and Arctic Monkeys’ shows weren’t performed on rotating stages in custom-made suits. It was a simpler time- the time of that ‘full moon music’. Yes, I’m talking Arctic Monkeys’ third studio album ‘Humbug’. The one that was panned by NME, lost them fans of their original ‘down the pub’ sound and my favourite Arctic Monkeys album. Sultry, psychedelic and somber – I think it’s a masterpiece. From the opener ‘My Propeller’, with its suggestive title, obvious innuendos and riveting bass line, the tone is set for an album that’s so different from anything the band has ever produced. That album brought a whole new era to the Arctic Monkeys- and no I’m not talking about their longer hair or dark clothes- it created the bridge between their younger loud riff-filled, tumultuous music and their deeper, matured music on albums like ‘AM’ and ‘Suck it and See’. Perhaps now the time has passed, Arctic Monkeys have moved on from that initial psychedelic California sound they discovered in the Californian desert…I don’t quite think so, I think they enjoyed that record more than they’ll ever let on and they’d be more than ready to step back into that dazed, psychedelic era. Hearing those ten sensual, dark songs and wicked riffs live would be surely out of this world. Alas, if it never happens I can always settle for watching Arctic Monkeys’ Reading 2009 set in full on YouTube while seething with jealousy…

Marty Hill

The perfect mix between the face-melting thrash of Grohl’s drums matched with Kurt’s iconic aggressive vocals and Krist’s tight basslines and the side of Nirvana that connects emotionally with so many people, ‘In Utero’ is widely regarded as the highlight of Nirvana’s output, and rightly so. Just imagine seeing it played in full way back when. Tracks such as ‘Francis Farmer Will Have Her Revenge on Seattle’ would cause absolute anarchy in the crowd whereas ‘All Apologies’ would have the crowd gazing upon Cobain in amazement. Imagine being there to see Nirvana come on stage and open their set with ‘Serve The Servants’. Unfathomable.

Claire Grant

One album I’d like to see performed in full by a favourite artist of mine is ‘Stories from the City, Stories from the Sea’ by PJ Harvey. The album opens with the amazing ‘Big Exit’ which features melisma that shows off PJ’s strong vocal ability. I also love the second track ‘Good Fortune’, a feel good tune with a jangly, light hearted sound. The track is about being in the throes of a relationship in that initial, exciting stage and feeling like your luck has changed and you can do anything. I like the references to places in this track such as “In Chinatown hung over. You showed me just what I could do”. The album, to me, is about revelling in pleasure in its various forms. It is also about celebrating your dark side and destructive tendencies and just enjoying those emotions and feelings while at the same time being able to pull back and detach from it without getting sucked in. In this vein, it is the equivalent of a dark, fairytale for me as an album where you get to play out all your favourite central characters like a movie reel in your mind as you listen to each track. Another track on this album that I particularly like is ‘One Line’ which has a muted, trancelike quality to it and it almost induces that effect on me when I listen to it. ‘The Whores Hustle & the Hustlers Whore’ is a powerfully charged, aggressive and exciting track to listen to. My other stand out tracks includes the reflective and moody ‘You Said Something’, ‘Kamikaze’, the crazy ‘This Is Love’ and the beautiful and ethereal ‘Horses in My Dreams’. Every track on this album is rich and sumptuous in its detail and I’m sure it would be a fun experience that rides through the full gamut of emotions to hear it all live and in full.

Zoe Black

Arctic Monkeys are currently basking in the raving reviews and possible legendary status of their Finsbury Park gigs last week (May 23rd and 2th4). They were two of the most important concerts of my favourite band’s career, and now the question has been begged as to what album I would most like to hear played live in full. My chosen record is the middle of the five, the fan’s favourite, and the LP from which only two tracks were chosen to be played at the recent Finsbury Park dates. ‘Humbug’ is quite possibly the most radical of all of Arctic Monkeys’ albums, if not because of its particularly heavy and brooding atmosphere and sound then because it was such a sharp and committed change from ‘Favourite Worst Nightmare’, which was essentially the sequel to ‘Whatever People Say I Am…’. With this record the Monkeys really began to showcase their musical creativity, curiosity and capability, albeit to initially mixed reviews. What Humbug it boasts are erotic, song-length metaphors (‘My Propeller’), painful but eloquent heartbreak (‘Cornerstone’), and the tiniest hint of the loveable cock of a stage persona that Alex Turner had lined up for himself in two albums’ time when he sings ‘All the pretty visitors came and waved their arms’ in the chaotic and gothic ‘Pretty Visitors’.  My personal favourite remains the lead single, ‘Crying Lightning’, as it captures the nuances of a dark and unhealthy relationship in a way that only someone as audaciously poetic and romantic as Alex Turner could. Couple these ever more impressive lyrics with the musical nous and intuition of Josh Homme’s production and the result is an exciting and emotional turn in the Arctics’ path that clearly signals the heights of the greatness to come through ‘Suck It And See’, ‘AM’ and beyond.

Adam Ross

Lungs’, with eerily haunting/weirdly happy tracks such as ‘Rabbit Heart (Raise It Up)’ and ‘Cosmic Love’, is the album I want to see performed in full. ‘Lungs’ shows off Florence & the Machine’s best bits; Florence Welch’s brilliant voice and the amazingly dark and mystical lyrics that accompany their phenomenal songs. Whilst songs like ‘You’ve Got the Love’ and ‘Dog Days Are Over’ are obvious crowd pleasing tunes, tracks such as ‘Swimming’ and ‘Hurricane Drunk’ show just how fantastic this album really is. Welch’s unique performance style is out of this world. There’s just some weird, witchy thing about her that brings the band’s performances to life. Dressed like a gothic, red headed bat and dangling from the scaffolding around the stage, Florence will go to extreme lengths to entertain. ‘Lungs’ is a spectacular album and it’s the album I want to see performed in full and I just know it would be the greatest gig of my life.

Janelle_Monáe_-_The_ArchAndroid_album_coverLungs_FatM

Natasha Walker

I had the pleasure of seeing Janelle Monáe recently at the O2 Brixton Academy where she performed tracks from her past, present and future (2719 to be exact). She left me wanting more, more of her music, her vocals and above all else more of her performance. Her studio debut ‘The ArchAndroid (Suites II and III)’ is a 70 minute long follow up to her first EP ‘Metropolis: Suite I (The Chase)’. These concept albums follow the story of a time-travelling android named Cindi Mayweather, the saviour of a sci-fi fantasy world that Monáe has created through conjuring overtures, sharp insightful lyrics and musical nods to funk, disco, R&B and almost every other genre she can add to this musical concoction. ‘The ArchAndroid’ is the album I would like to see performed in full, with its cleverly spun allegorical tales of racial, sexual, and class discrimination and tunes that make you want to move. Describing it as an ‘emotion picture’, Monáe gives her live performances everything she has and there is no doubt in my mind that a full length rendition of this album would be a mesmerising, theatrical, toe-tapping, head shaking, once in a life time performance and I want to be there.

Alejandro DeLuna

David Bowie’s ‘Low’: Just put the savviest vampire in pop music after descending from a mountain of cocaine and an unhealthy obsession with occultism in Los Angeles into a rehab of class A drugs next to Iggy Pop. Send these wackos to Château d’Hérouville in France and Hansa Studios in Berlin with another lunatic called Brian Eno with Carlos Alomar´s rhythm textures and a lustful desire for unconventional instruments and sounds. ‘Low’ is an autobiographical trip full of gloomy atmospheres that tell the story of a man crawling to re-establish his mental and physical health after entering into a downward spiral of decadence and substance abuse. The result? 38 minutes of darkness and proto-industrial claustrophobia. Could ‘Warszawa’ and ‘Subterraneans’ be two of the saddest songs ever made?‘Speed of Life’, ‘A New Career in a New Town’ and ‘Weeping Wall’ sound like Kraftwerk at their darkest; tired of quadratic structures and losing their minimalistic plot. ‘Breaking Glass’ shows Bowie´s absorbing Iggy´s monotone vocals while ‘What in the World’ is the only song in the album where you can listen to Iggy´s choirs behind schizophrenic textures. Did I forget to mention that Low includes ‘Be My Wife’ and ‘Sound and Vision’ – two of the finest pop songs in Bowie´s career? Half lyrical, half instrumental and with a non-conventional narrative structure, ‘Low’ presents Bowie at his darkest, wisest, most thoughtful and avant-garde. From Joy Division to Nine Inch Nails, this is the start of it all.

Elliott Homer
Elliott Homer is an undisputed master of understatement, a black belt holder in mixed metaphors and long-time deserving of some such award for length of time spent chatting rubbish about music down the pub. Studies show prolonged exposure to his scribblings can cause migraines, hysterical pregnancy, night terrors and/or acne, yet seldom encourages readers to agree with the author, in fact quite the reverse, much to his eternal frustration.