Dodgy, The Who, and Goldfrapp: musical mashup

I've been thinking of writing an analysis of an album, as I did with Goldfrapp's Felt Mountain.

Candidates include Dodgy's Free Peace Sweet; the Stone Roses' self-titled album (although there's probably too much written about this already); something by The Who (this would require a purchase); or Squeeze's East Side Story. I'd like to do something on Tim Burgess' I Believe but there's not much ambiguity or scope for analysis: it's just a damn fine album.

I recently saw The Who: The Kids Are Alright and one of the songs featured reminded me of Dodgy's Jack the Lad three-part cycle. The construction of the songs and the subject matter makes me wonder if Dodgy were influenced by The Who -- it certainly seems possible.

Also recently, I discovered my piece on Felt Mountain has been referenced at Wikipedia, news I received with a mixture of exuberance and insecurity. It's very flattering and I'm thrilled that it's cited at Wikipedia; however, it makes me more self-conscious about the piece. Re-reading it, I'm proud, but also feel it doesn't quite get there. Part of me thinks I managed to pull on the rubber gloves and begin the autopsy, but never reached it's dreadful Frankenstein heart.

And indeed, reviewing my saved notes, there are about fourteen additional points I wanted to make and never did. I thought it was getting lengthy and would strain readers' concentration.

One point I left out is absolutely vital, and that is: the sense that there is only a binary way of being in Felt Mountain. It is this sense of a lack of viable options that became a piece of grit in my mental oyster, irritating me and driving me to write about the album. Perhaps I didn't produce a pearl; then again, perhaps I did. But I found it a worthwhile and fun exercise.

Where does this leave me, or you, reading this post? Nowhere particular, like many blog posts, but if you have an album that you never tire of, and yet still puzzles you in parts, feel free to leave a comment.