Desert Island Albums - 2018 [Adam's Music Reviews #2]

A few years ago I wrote a kind of 'Desert Island Discs' for this blog, listing ten of my all time favourite albums. As I was recently nominated on Facebook to do exactly this, I thought I'd post an updated list. I say updated; as you'll see the centre of gravity seems to be about 1971! The first three albums and descriptions are the same as in my 2013 list, being perennial favourites, whilst those further down the list are works that I've come to appreciate more since I last blogged about this. In keeping with the BBC Radio 4 'Desert Island Discs' tradition, I have made sure one classical album is included, replacing Beethoven's 3rd Symphony (from last time) with a bit of Gershwin. The musical musings and humour continue in '2021: A Musical Odyssey' - now available in digital and paperback formats.

Pink Floyd – The Dark Side of the Moon (1973). 'Money' is about the only song on this album which receives regular airplay (usually edited because of the rude word), but the album spent 6 consecutive years on the UK album chart. All human life is explained in the lyrics. 'Time' is particularly apt. If I had to pick a second PF album it would be a tough choice between 'The Wall' and the totally bonkers 'Ummagumma'.
[High point for me: the segue from Time into Breathe (Reprise)]

The Beatles – White Album (1968). The sequel to Magical Mystery Tour (which in turn followed Sgt Pepper). On this album, the Beatles did whatever they felt like with no constraints towards commercialism. Styles vary from folk to Charleston to country and western to heavy metal, and 'Revolution 9' simulates the effect of waking up during a series of bizarre dreams, before Ringo lulls us back to sleep with 'Good Night'.
[High point for me: the segue from '...Bungalow Bill' into 'While my Guitar Gently Weeps' (George's finest)]

Bob Dylan – Bringing It All Back Home (1965). Lyrically I think this is Dylan's masterpiece. You've got 'Mr Tambourine Man' and 'Subterranean Homesick Blues', but for me the highlight is the verbal deluge of 'It's alright Ma, I'm Only Bleeding'. This album is half folk and half rock – both sides of Mr Zimmerman's oeuvre. For a second Dylan choice, 1996's 'Time Out of Mind' comes close, but so do about ten others!

Rolling Stones – Sticky Fingers (1971). The Stones emerged from their brief dabble with psychedelia with what I regard to be their three finest albums; Beggars Banquet, Let it Bleed and this one. Opening with Brown Sugar, which amazingly still gets radio airplay in these more politically correct times, the classics keep on coming. Wild Horses heralded further 70s ballads, but it is the extended jam of 'Can You Hear Me Knocking?' which really highlights the band's musicality. The final four tracks show that even at their most decadent, the Stones could be amazingly mellow. The album's conclusion, 'Moonlight Mile,' is a little-known classic that deserves regular airplay. Great for sitting round a campfire!

Led Zeppelin III – (1970). Whilst 'IV' had the all-time classic (Stairway to Heaven) and the world's most sampled drumbeat (When the Levee Breaks), 'III' is an album of two halves. The first half opens with the archetypal Zeppelin of Immigrant Song and includes the 7-minute blues epic 'Since I've been Loving You' as well as 'Out on the Tiles' (similar to 'Good Times, Bad Times' from the first album), but it is the relaxed folky second half that surprises, particularly Tangerine and That's The Way. Great for sitting round a camp-... oh I've done that one!

David Bowie – The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972). In younger days, I was a bigger fan of this album's predecessor, Hunky Dory, for it's eclecticism and Rick Wakeman's piano playing. However, for pure escapism, 'Ziggy' is a masterpiece. The first three tracks run together like a trilogy, as do the final three. The filling is equally good. Bowie starts out theatrically with Five Years and Mick Ronson's soaring guitar solos excel throughout. It's a bold statement, but this album provides a rare glimpse of something beyond the mundane.

Travis – Good Feeling (1997). I saw Travis perform as a warm-up band before they were famous and dismissed them as 'Oasis wannabes.' I was wrong. 'The Man Who...' gets all the plaudits, but this was the group's raw debut. Like so many on this list, it's an album of two halves. 'All I Want to do is Rock' is a simple, yet rousing opener and 'Tied to the Nineties' sums up how we may have felt at the time about what now seems to have been a 'classic' decade. The love songs come thick and fast at the end. Travis have never seemed so impassioned since, although once they unplugged the guitars and found a formula, they would achieve stardom.

The Kinks – Muswell Hillbillies (1971). The Kinks' 'Arthur' album of 1969 has never been far from my CD player, but just a couple of years later came this little-known classic. The songs are something of a catalogue of disorders, dealing with alcoholism, anorexia and anxiety (and that's just the 'A's), but the subjects are always dealt with humorously, and Ray Davies even recommends a good old fashioned cure for all – 'have a cup of tea!' A folky feel pervades and sadly the pub that appears on the album cover is now in a state of disrepair. The opening track sums it up; it starts quietly, when the drums kick in they never sounded better and then it builds to Ray's deranged shout of 'I'm a 20th century man but I don't wanna be here.' Brilliant!

Photo: Myself outside the Archway Tavern which features on the album cover.

John Lennon – Plastic Ono Band (1970). Before we got the 'John as a saint' persona (which he never courted), we had this – a raging diatribe against all society's norms. This would have been something as a shock for those who remember the Beatles as lovable clowns from their early years. Working Class Hero is a classic, although I would advise a '12' certificate if you have kids. 'Look at Me' is a very nice introspective acoustic track, and in case anybody was hoping for a continuation of the Beatles career, John laments 'The dream is over' on the penultimate track. After some activism, John would settle into family life before his tragic demise, and comparing the relaxed feel of his final songs with this album is like comparing chalk and cheese.

George Gershwin – Piano Concerto in F / Rhapsody in Blue / An American in Paris (1924-1928). The version I have features Daniel Blumenthal on piano and may have even been the first classical album I appreciated. 'Piano concerto in F' always returns fatalistically to the same dramatic orchestral chord, with variations that include the bluesy second movement and a high-speed summary of all that went before (the third movement). An American in Paris includes the orchestrated sound of car horns before mellowing into its more famous romantic theme, and Rhapsody in Blue has an opening that is perhaps second only to 'Beethoven's fifth' when it comes to fame, but entertains with around twenty minutes of piano dominated themes.

Thoughts on Dream Phenomena

Apologies to those who enjoy the cycling narratives, etc. They will return as soon as the weather picks up. For now, I'm continuing with the 'psychology' theme of my last blog.

I've been interested in dream phenomena since a very young age. One of the first dreams I remember involved thinking I'd woken up in my bedroom aged about 7, only to find various animals appearing in my room, at first as a faint outline and then vividly. In the end, I got out of bed and went to open the door to the landing, only to hear my mother's voice say, “Don't come out. There's snakes out here.” Then I woke up.

How many childhood stories end with that twist? - Alice in Wonderland for a start! In fact, I recall being told at school that this was a kind of 'cop out' cliché ending to give a story when you don't know how to finish it. Well, it worked for Lewis Carroll.

I guess the opposite of the phenomenon of thinking you have woken up when you are still dreaming is what is known as 'lucid dreaming' - when one becomes aware of being in a dream. The natural reaction is to try to wake yourself up, but this invariably seems to fail. After a while, you realise that the best thing to do is to go with the flow and try to manipulate the dream itself for your own entertainment.

My grandfather used to state emphatically that he never dreamed at all, in spite of the impossibility of this, and indeed, for those who don't even remember their dreams such phenomena will sound almost like having a fight with your own mind. I remember as a child having lucid dreams and thinking I was forcing my eyelids open with my fingers, when of course I was laying motionless all along.

In later years, I used to have a similar experience on a regular basis, thinking I'd got out of bed to put the light on, only to find that I was still in total darkness. This was normally the give-away that it was a dream, so rather than panic, I used to open the patio doors and go for a wander around the village where I lived, until my brain was ready to wake me up. Of course, I had not left the safety of the bed in reality.

Winding the clock back to childhood, I remember staying at my grandparents' house and seeing a pneumatic drill being used in a dream while I was there, only to wake up and realise that the sound was in fact my alarm clock going off. My grandparents used to have a 'teasmade' (basically an alarm clock that wakes you up with a cup of tea) and perhaps I heard the kettle boiling while in a dream-state when I dreamed that I could see the tea infusing within the teapot! In both cases, it amazed me how quickly the brain can incorporate an external sound into a dream. In fact, what can seem like hours in a dream is really just a matter of seconds.

This may be because the dream contains the important moments of a sequence of events but not all the boring stuff in between. A dream tends to flick between one event and another more like a film does, rather than playing out an actual 'minute for minute' timeline. The Christopher Nolan film 'Inception' makes good use of this time distortion factor by creating months of time by means of a dream within a dream within a dream within... you get the idea!

Lucid dreams can be particularly fun when you're trying to prove to yourself that you're in a dream by catching your brain out. For example, trying to find the answer to a question that you know nothing about. This could mean picking up a book on an unfamiliar subject and trying to read it, or having a conversation with somebody who is supposed to be an expert on a topic that you know little or nothing about.

A lot of these ideas ended up in some of the stories in my Conundrum anthology, from somebody being stuck in a dream and unable to wake up to another character who invents a machine that can record dreams and ends up unable to distinguish them from reality. It's free to download from most online retailers if you fancy some unusual stories with a (usually dreamlike) twist.

One particularly disturbing experience is sleep paralysis. This occurs when a person is partially asleep and partially awake. Thus, the paralysis that stops a person from acting out their dreams is in full effect but the brain is active.

Far more scary sounding than it actually is is something called 'exploding head syndrome.' This seems to occur in a half-asleep, half-awake state, and involves hearing all kinds of explosions or loud sounds that seem to be coming from within the brain. It's a real thing (see Wikipedia) – I personally experience it sometimes when I first drop off to sleep and the sound normally resembles rushing waves over a high pitched ringing. Sounds bizarre? It is - not my idea of fun at all!

A more common parasomnia (occurrence within sleep) is somnambulism or sleep-walking. I had a brief dalliance with this in my teenage years. I used to wake up during the experience at the opposite end of the room to the bed, disorientated. When I got my first job of cleaning windows, I even woke up finding myself attempting to clean a non-existent window in my wooden bedroom door.

As you can see, I've had a lot of these experiences and I'm not sure if it's simply a case that if you suffer from fairly poor sleep you're more inclined to 'get the lot.'

But why dream at all?

The most sensible theory I've encountered is that dreams merely occur while the brain is filing away information from the preceding day. This would make sense to me – when we sleep badly, we cope pretty poorly with things – perhaps the brain is just in a state of confusion, like a teenager's bedroom. And you're expecting it to find solutions in that kind of chaos?!

What we experience as dreams mostly occur during periods of rapid eye movement (REM), where the eyes move around beneath the eyelids as if the dreamer was awake. This is one of five stages of sleep which vary from shallow to deep, with REM sleep as a kind of fifth 'bonus' stage.

All in all, I think remembering dreams adds a dimension to life that many are not even aware of. How much creativity has been inspired by dreams for example, from music to literature, and from films to art? The bible is filled with dream stories, so it would seem that the ancient people were far more interested in these night-time adventures than most folk are today. It's true that people believed that dreams contained premonitions, a view that few would share today, but this isn't to say that dreams have nothing to offer the dreamer at all.

The brain can often find solutions to problems while it's doing its filing, and the dreamer merely has to ask what the specific things within the dream mean to them personally and join up the dots. Sometimes the idea is helpful; other times just 'bleeding obvious.' I used to often dream of travelling on a train, only to find that there were no rails beneath it and then later there was no train at all – I was just walking along a disused track-bed. It seems fairly obvious to me that this implies a lack of a clear direction or a sense of not reaching any particular destination fast. Thankfully I don't have that dream now, so either I've found a direction or resigned myself to not having one!

Peculiarly, I have noticed that many dreams seem to exist in a time-warp. I hardly ever dream of being at my current home, or even the one before that. Time and time again, my dreams seem to take place in my parents' house (pre-2000) or my grandparents' house (pre-1997). My old jobs also seem to feature quite heavily too. I wonder if the experiences of early life merely have a greater impact on the mind and therefore the brain interprets everything through these memories.

Another thing with dreams is that the brain never seems to accurately replicate a real-life location. Normally the dreamer just accepts what the brain is presenting as reality, but upon waking realises that the scene was pretty far off the mark. I guess these dreamscapes are like the vaguely familiar pictures that the mind conjures up when imagining a location in a book - generally our personal idea of what is being described roughly takes on features of familiar places. I also find that people rarely look the same in dreams and that often a person can morph into somebody else completely half way through the dream without me even realising. Yet conversely, I find that music sounds astonishingly real in dreams, as do recognisable voices.

Whilst dreams are often dismissed as having little value these days, it does seem to me as though they give us a glimpse of how the brain actually works in interpreting the real world. On that thought, I'll let John Lennon have the final word on the matter, with a line from what is perhaps his most popular song (Imagine); - “People say that I'm a dreamer, but I'm not the only one.”

Indeed, there are over seven billion others.

STOP PRESS: Adam Colton's short novel 'The Dream Machine (Labyrinth of Dreams' was released in 2020. It is a psychological sci-fi tale concerning a machine that can record dreams.