#27: Jay-Z/Kanye West - Watch The Throne

No Church In The Wild (West, Carter, Njapa, Dean, Breaux, Nash, Wright, Manzanera, Brown, Roach)
Lift Off (West, Carter, Bhasker, Dean, Williams, Hernandez, Samuel)
Niggas In Paris (West, Carter, Hollis, Dean, Donaldson)
Otis (West, Carter, Woods, Campbell, Connelly, Robinson, Hammond, Brown, Roach)
Gotta Have It (West, Carter, Williams, Brown, Roach, Pinckney, Wesley)
New Day (West, Carter, Diggs, Dean, Bricusse, Newley)
That's My Bitch (West, Carter, Fareed, Bhasker, Vernon, Brown, Byrd, Lenhoff, Lordan)
Welcome To The Jungle (West, Carter, K. Dean, M. Dean)
Who Gon Stop Me (West, Carter, Joseph, Dean, Simmonds, Kierkegaard)
Murder To Excellence (West, Carter, K. Dean, Griffin Jr., Mescudi, Jones, Mason Jr., Rosenbaum, Semenya, Summers, M. Mordorcea, G. Mordorcea)
Made In America (West, Carter, Joseph, Dean, Breaux)
Why I Love You (West, Carter, Dean, Cerboneschi, Blanc-Francard, Camillo, Sawyer)

Frank Ocean - guest on 'No Church In The Wild' and 'Made In America'
Beyonce - guest on 'Lift Off'
Otis Redding - guest on 'Otis'
Mr. Hudson - guest on 'Why I Love You'
Produced by Kanye West, 88-Keys, Mike Dean, Jeff Bhasker, Q-Tip, Pharrell, Don Jazzy, Hitboy, Anthony Kilhoffer, The Neptunes, RZA, Ken Lewis, Swizz Beatz, Shama Joseph, and S1

Label: Roc-A-Fella/Roc Nation/Def Jam

Though this has been billed as the "first collaboration" between hip-hop behemoths, Jay-Z and Kanye West, the two have actually been working together pretty consistently for over a decade at this point, with West always producing at least one track on each of Jay's albums in that time.
This is however the first time the two of them have created a full album together, with both of them sharing vocals throughout and West co-producing most of the tracks.
As you would expect from two of the hip-hops sole shining lights in the 21st century, this is tightly packed with some great moments, and though there are a couple of things I would regard as mistakes - the sample of 'Try A Little Tenderness', complete with vinyl pops and sputters in 'Otis' make the raps recorded crisp and clear sound out of place - but this is largely a very impressive album. I hope to hear more of what these two can do together in the future.

(Apologies if you've been waiting for this... I found that doing it every day was really burning me out for finding things to say, so decided to give it a rest for a while).

#28: Jimi Hendrix - Valleys Of Neptune

Stone Free
Valleys Of Neptune
Bleeding Heart
Hear My Train a Comin'
Mr. Bad Luck
Sunshine Of Your Love
Lover Man
Ships Passing Through The Night
Fire
Red House
Lullaby For The Summer
Crying Blue Rain

All tracks written by Jimi Hendrix, except 'Bleeding Heart', by Elmore James and 'Sunshine Of Your Love', by Brown, Bruce and Clapton

Jimi Hendrix - vocals, guitar
Noel Redding - bass (except 'Stone Free', 'Valleys Of Neptune', and 'Bleeding Heart'), backing vocals on 'Fire'
Mitch Mitchell - drums (except 'Bleeding Heart')
Billy Cox - bass on 'Stone Free', 'Valleys Of Neptune', and 'Bleeding Heart'
Rocky Dzidzornu - percussion on 'Sunshine Of Your Love', and 'Crying Blue Rain'
Roger Chapman - backing vocals on 'Stone Free'
Andy Fairweather Low - backing vocals on 'Stone Free'
Juma Sultan - percussion on 'Valleys Of Neptune'
Rocky Isaac - drums on 'Bleeding Heart'
Chris Grimes - tambourine on 'Bleeding Heart'
Al Marks - maracas on 'Bleeding Heart'
Produced by Jimi Hendrix, Chas Chandler, Janie Hendrix, Eddie Kramer and John McDermott

Label: Legacy

Mainly recorded in 1969, 'Valleys Of Neptune' is the other posthumous release that I spoke of in the entry about 'Michael'. Unlike that album, these recordings were actually intended to be used on the unfinished follow-up to the final Jimi Hendrix Experience album 'Electric Ladyland', rather than a collection of outtakes from previous records.

Looking through the tracklist, there are a number of tracks that you'll think that you've heard before. They aren't as you remember them, however, but rather alternative versions of tracks from previous albums. The versions on here of 'Stone Free', 'Fire', and 'Red House' don't replace the original versions in any way, but it's nice to hear another interpretation of the tracks, even if they are pretty unnecessary. The real gem of this album is the title track, that had remained unavailable for the 40 years following Jimi's death - I wasn't born at the time, and even I can't believe that it's been 40 years.

There's enough here to keep any Hendrix fan without the patience to sift through the numerous bootlegs available (like myself) happy.

Listen Here: Jimi Hendrix Experience – Valleys Of Neptune

#29: Pearl - Little Immaculate White Fox

Rock Child (Aday, Wilson, Blake)
Broken White (Aday, Wilson, Blake, Colt, Ian)
Nutbush City Limits (Turner)
Check Out Charlie (Aday, Wilson, Blake)
Mama (Aday, Wilson, Blake)
My Heart Isn't In It (Aday, Wilson, Blake)
Nobody (Aday, Wilson, Blake, Ian)
Worth Defending (Aday, Wilson, Blake)
Lovepyre (Aday, Wilson, Blake)
Whore (Mother Superior)
Anything (Colt, Aday)

Pearl Aday - vocals
Scott Ian - guitar, backing vocals
Nalle Colt - guitar
Marcus Blake - bass, backing vocals
Dominique Davalos - bass, backing vocals
Matt Tecu - drums
Eric Leiderman - drums
Ted Nugent - guest on 'Check Out Charlie'
Jerry Cantrell - guitar on 'Anything'
Produced by Joe Barresi

Label: Megarforce Records

The first time I heard of Pearl, the band featuring Meat Loaf's daughter Pearl Aday, Anthrax's Scott Ian and members of a band called Mother Superior was when I had the pleasure of seeing them play on Velvet Revolver's last UK tour. That was the tour in which I learned three things... firstly, if you want a badass rock show, sometimes chemistry is no match for the entire band being so pissed off with each other that they're taking it out on their instruments. Let's take a moment to thank Scott Weiland and co for a truly memorable show.
Secondly, I learned that the Dharma Initiative responsible for a lot of the shit that went down in Lost (and most of the characters supplies) also apparently makes guitars. (Just imagine that this statement was followed up by a picture of Scott Ian's custom guitar that I used to have, and seem to have lost, damnit!)

And thirdly I learnt that Scott Ian is married to Meat Loaf's adopted daughter, who has lungs that seems to call into question everything we know about genetics. Can it still be hereditary even though they don't share any actual DNA? Apparently so!

The debut album 'Little Immaculate White Fox' is one of the best pure hard rock albums in recent memory, with fantastic tracks like 'Whore', and a note perfect cover of Ike and Tina Turner's 'Nutbush City Limits'. It's the kind of fist-in-the-air stuff that is hardly ever made any more. Coincidentally, when it comes to music like this, I don't think there's been anything that's been this fun without just being shallow and ultimately disposable since Velvet Revolver's 'Contraband'. And if that isn't recommendation enough, I don't know what you need to hear. Give it a listen! If you don't like it, you probably don't like rock 'n' roll... that's all.

Listen Here: Pearl – Little Immaculate White Fox

#30: Serj Tankian - Imperfect Harmonies

Disowned, Inc.
Borders Are...
Deserving?
Beatus
Reconstructive Demonstrations
Electron
Gate 21
Yes, It's Genocide
Peace Be Revenged
Left Of Center
Wings Of Summer

All tracks written, performed, produced, engineered and orchestrated by Serj Tankian

Mario Pugliarulo - bass
Troy Zeigler - live drums
Vincent Pedulla - additional orchestrations
Dan Monti - additional guitars on 'Borders Are...', 'Electron', and 'Wings Of Summer'
Brain - live drums on 'Left Of Center'
Shana Halligan - additional vocals on 'Beatus' and 'Wings Of Summer'
Ani Maldjian - operatic vocals
David Alpay - solo violin on 'Wings Of Summer'

Label: Reprise/Serjical Strike

Inspired by a live collaboration with the Auckland Symphony Orchestra, Serj Tankian's follow-up to the brilliant 'Elect The Dead' features full orchestration on all tracks. Rather than being a classical album or what has become known as "symphonic metal", this still sounds like a Serj Tankian record.

System Of A Down are a great band, but Serj sounds far more comfortable singing his own songs than Daron Malakian's, and the result is a usually superior end product to his band. 'Imperfect Harmonies' never reaches the same heights musically as 'Elect The Dead' or SOAD's debut album, but it's always very good to listen to. Even if there is a bit of a failed experiment with electronics on 'Deserving?' which can be best described as "disco rock" and them promptly forgotten.

Lyrically nothing has changed. Serj is still singing about the same subjects he always had. So we have yet another song about the Armenian genocide, etc. It's not a huge problem, but I do wish he'd find something else to write about sometime.

'Imperfect Harmonies' isn't an easy listen, and sometimes it can be quite frustrating, but if you're in the right mood for it, it's oddly effective, and surprisingly mellow-sounding compared to his other output.

Listen Here: Serj Tankian – Imperfect Harmonies

#31: Die So Fluid - The World Is Too Big For One Lifetime

Figurine
Mercury
Storm
The World Is Too Big For One Lifetime
Hearts Are Hollow
Raven
Themis
How Vampires Kiss
If Wishes Were Bullets
What A Heart Is For
Sound In Colour

All songs written by Die So Fluid

Grog - vocals, bass
Drew Richards - guitar
Al Fletcher - drums, backing vocals
Produced by Mark Williams

Label: DR2/Global Music

Die So Fluid are an alternative metal band from London. Their music combines the crunchy riffs of most modern metal, combined with female vocals from Georgina "Grog" Lisee. Despite how that sounds, this isn't another band in the vain of Lacuna Coil, Within Temptation, Evanescence, or Nightwish. The vocals are quite a bit rougher than that, but still just smoothe enough to be fun to listen to - none of the Arch Enemy style growling here. 'The World Is Too Big For One Lifetime' is the band's third and by far their best album.

Listen Here: Die So Fluid – The World Is Too Big For One Lifetime

#32: Me First And The Gimme Gimmes - Go Down Under

Never Tear Us Apart (Farriss, Hutchence) - originally by INXS
All Out Of Love (Russell, Hitchcock) - originally by Air Supply
Friday On My Mind (The Easybeats) - originally by The Easybeats
Have You Never Been Mellow (Farrar) - originally by Olivia Newton-John
I've Done Everything For You (Hagar) - originally by Rick Springfield

Spike Slawson - vocals
Chris Shiflett - guitar
Joey Cape - guitar
Fat Mike - bass
Dave Raun - drums
Produced by Me First And The Gimme Gimmes

For those of you who don't know, Me First And The Gimme Gimmes are a pop-punk supergroup consisting of members of Swingin' Utters, NOFX, Foo Fighters and Lagwagon. With every release, the band perform pop-punk covers of songs based on a particular theme. The theme for this E.P., is Australia and was released within a couple of weeks of Amanda Palmer's similarly titled album.

I've got to admit, I've never heard the original versions of any of these songs, and based on the artists that did them I don't particularly care to. All that matters is that these songs are done in a light-hearted manner, and are above all fun to listen to. They've succeeded on both counts, and that's enough to please me in this regard - the band were never meant to be taken seriously, so judging it on anything more than that would just be silly. They've since released a similar E.P. titled 'Sing In Japanese' that I've yet to hear.

Listen Here: Me First and the Gimme Gimmes – Go Down Under - EP

#33: Red Hot Chili Peppers - I'm With You

Monarchy Of Roses
Factory Of Faith
Brendan's Death Song
Ethiopia
Annie Wants A Baby
Look Around
The Adventures Of Rain Dance Maggie
Did I Let You Know
Goodbye Hooray
Happiness Loves Company
Police Station
Even You Brutus?
Meet Me At The Corner
Dance, Dance, Dance

All songs written by Red Hot Chili Peppers

Anthony Kiedis - vocals
Josh Klinghoffer - guitars, keyboard, backing vocals
Flea - bass, backing vocals, trumpet, piano
Chad Smith - drums, percussion
Greg Kurstin - piano, keyboard
Money Mark - organ on 'Look Around'
Mauro Refrosco - percussion
Lenny Castro - percussion
Michael Bulger - trumpet on 'Did I Let You Know'
Produced by Rick Rubin

Label: Warner Bros.

After the departure of John Frusciante for the second time in 2009, the big question was whether the Red Hot Chili Peppers could come up with something worth listening to without him. This, I feel severely underestimated the influence of the other three members of the band. It's true that they never really got the kickstart they needed until John joined for 1999's 'Mother's Milk', but their one album without John between then and now - 'One Hot Minute' - was one of the band's very best. It's unfairly maligned by almost everyone in the world, but it really is a great album.

'I'm With You' doesn't really live up to that - though the sonics in the intro of 'Monarchy Of Roses' harkens back to that record - but it does manage to stand on its own. Replacement, Josh Klinghoffer doesn't really make his mark nearly as well as he should have, leaving Flea and Chad Smith to hold the fort musically. This is no bad thing, though, as it opens up an opportunity for one of the best rhythm sections in rock to stand in the spotlight for the first time. They've been overshadowed by the guitarist for the past 22 years, so it's a nice change of pace.

Not that they really do anything differently. Flea has always done the thing where the bass goes smoothly back and forth from lead instrument to rhythm, with the guitar doing vice-versa. But now with a fairly non-descript guitarist, he might actually get the recognition for it. Similarly, Chad Smith has always taken the 'whatever's needed' approach to his drums, never succumbing to the need to be flashy, whilst at the same time not being simple. Anthony Kiedis' vocals are, of course, forever dependable, and he doesn't really cover any new territory here, keeping very much in his post-'Californication' voice.

The songs are for the most part solid, with only 'Dance, Dance, Dance', really being a disappointment. They are however very much songs that sound like what they've been doing for the last 12 years, just without the distinctive guitar/backing vocal tones that has characterised that music. The exception being the fantastic, 'Even You Brutus?'. I hope this line-up of the band stays together long enough to record another album together once they've gotten more used to playing with each other, and maybe have Josh actually leave his mark on the album next time. The big fear being that John will return once again, and just as with 'One Hot Minute', this album gets completely discarded from memory and victimised for who it doesn't feature.

This album isn't available on Spotify.