Cowboys International "Thrash" b/w "Many Times (Revisited)" 45 rpm vinyl single, 1979 (Virgin)

I have this thing about Cowboys International.   I need to own every recording by them, which includes their first album in U.S. and British edition, as well as all the singles that came from the album.  And I need to have it on CD.  The fear I have is that someone will either steal or borrow that album and never give it back.  So like a man who wanders into a market and buys all the bottled water to put in their 'safe room' in case disaster strikes - I feel the same way about Cowboys International's recordings. 

"Thrash" is the first song I have heard from Cowboys International, and it's a record that absorbed my soul.  When I listen to this cut, I feel I become one with it, as the object in front of me, but also the sound and voice of Ken Lockie.   The start of the synth beat that's both primitive and basic cuts through the noise that's inside my head.  Lockie's vocals are relaxed, thoughtful, and worldly.  It reminds me a bit of Morrissey when he's wishful and singing about a particular place.   Lockie writes in a similar mode, but not an actual place, but more of a location in the mind.  Something that sticks to one, because it's part of you.  

The beauty of "Thrash" to me, is a song about not communicating or not connecting to the world. The singer is conveying a world where nothing is being expressed fully, except he puts his arm around your shoulder, and then goes on. The word 'thrash' means to hit, strike, clobber and so forth.  There is this strange juxtaposition of two ideas at the same time.  One is someone giving comfort to another, but in a vague manner and two, the chorus is just the word "Thrash."  I never heard such a beautiful melody attached to a violent word.   Because of the violence and the helpful characteristics of the singer, the song is jarring and pulls the listener in different directions at the same time. 

"When everything not together I put my arms around your shoulder / the words that say won't mean anything/ change the face change everything/ Thrash, Thrash/  There's not one little thing I regret/ to spend my  time walking/ but don't forget the words/ they say won't mean anything / Thrash Thrash." There are no printed lyrics, so this is all due to me hearing the song.  Still, it conveys a singer who may be unbalanced, but again the melody is sad but upbeat.  Or perhaps as he states in the song, 'thrash' "won't mean anything."    The lyrics intrigued me (if I caught them rightfully, and if not, that's interesting as well).  For 38 years I have been thinking about this record.  I love it, but there is more to it, every time I hear it on my computer or on vinyl.  A remarkable piece of work that doesn't have answers, but makes one think about the Albert Camus like a sense of existentialism or being separated from thought and action. 

Alwin Nikolais' "Choreosonic Music of the New Dance Theatre of Alwin Nikolais" LP, Vinyl, Album, 2013/1959, (Cacophonic)

Alwin Nikolais (1910-1993) started out by playing the organ in the silent films. When sound came in, he needed to expand his horizons, and he did so by studying scenic design, costuming, acting, puppetry, and music composition.   These field of interests led him to dance choreography where he could combine all his different mediums in one space.   He founded the Henry Street Playhouse in New York City in the 1950s, where he started to do multi-media presentations.  Nikolais wrote electronic music go with his performances, and here we have the aural results of sounds he made in the 1950s. 

In a similar situation as John Cage/David Tudor (and Eno), Nikolais' partner-in-crime David Berlin, operated and manipulated the sounds from the sound booth that looked over the stage.  Some of the music/noise were played by the dancers with such instruments as drums, bells, wood blocks, gongs, and rattles but all played through Nikolais/Berlin's electronic filters.  The music now is just as fresh as it must have been in 1959.  

When I was in the ARTBOOK store, I played this album, and I sold copies there and then.  By no means is it ambient, due to it being originally used as modern dance music - but a total pleasing listening experience, where the sound brings a sense of rhythm and dynamics.  It's interesting to note that Nikolais was the first person to purchase the first Moog analog synthesizer system.  Another electronic composer of great importance, yet I never heard of him till recently and when I bought this album "Choreosonic Music of the New Dance Theatre of Alwin Nikolais."

Roxy Music - "Manifesto" Vinyl, LP, Album, 1979 (ATCO)

I think of Roxy Music in two stages.   Their first five albums are to me, the complete circle of that band.  After those five albums, the band kind of broke-up to focus on solo music.  Ferry at that time was still doing albums that were half original and the other half covers.  "In Your Mind" was the only Ferry album at that time where it was all original songs, written by Bryan.   Still, the truth is even the covers he did was a personal or even original statement by Ferry.   A cover is a cover unless it was done by Bryan Ferry and then it means something else.  "Manifesto" was the first Roxy Music album after they split up.  There's a four-year wait between "Siren" and "Manifesto."  There was a lot of activity in those four years by Ferry and company away from the Roxy Music world. What's interesting about this 'good' album is that it has nothing more to say. 

"Manifesto" is more about the craft of good songwriting and recording than inspiration. Emotionally, the songs sound post-depression has taken place.  It's interesting that this once radical band puts out an album in 1979, where there was a great landscape for the post-punk music world.  The title song "Manifesto" touches on that era music-wise but lyrically is rather dry.  

"Manifesto" is a very good album, but compared to the high standards of the first five Roxy albums, it's not that important of a work.  Still, commercially it did wonders for them through songs "Dance Away" and "Angel Eyes."  Those two are perfectly written pop, but sounds empty compared to something like "Virginia Plain."   For one, Ferry is now at this point writing very literal lyrics expressing sadness, romance, and so forth.   The surreal brutality of "Every Dream Home a Heartache" has been replaced by lyrics like :  

"Yesterday, when it seemed so cool

When I walked you home, kissed goodnight

I said, "It's love", you said, "Alright"

It's funny how, I could never cry

Until tonight, when you pass by

Hand in hand with another guy

You're dressed to kill and guess who's dying"

("Dance Away" Bryan Ferry)

Compared to something like: 

"Throw me a line I'm sinking fast

Clutching at straws can't make it

Havana sound we're trying 

hard edge the hipster jiving

Last picture shows down the drive-in

You're so sheer you're so chic

Teenage rebel of the week

Flavours of the mountain steamline

Midnight blue casino floors

Dance the cha-cha through till sunrise

Open up exclusive doors oh wow!

Just like flamingos look the same

So me and you, just we two got to search for something new"

(Virginia Plain" Bryan Ferry)

This is not bad Ferry writing, but a difference has taken place.  One can look at it as a maturity, but to me, I see it more of a convention or normalizing his world of writing.   The music also loses its innovative edge.  The arrangements are straightforward and to the point.  Still, the album is a delight on its own terms.  This is the first Roxy Music album that was self-produced by the band.  Manzanera is still a guitar demon on the album, and Mackay's Oboe and sax playing is textural and adds a lot to the mix.  The disappointment, especially if one is a long-term fan of Roxy Music that this could have been a better album.  At the same time, there is a seduction of Ferry's voice, which he can sing the alphabet if he wanted to,  and it can bring significant meaning to those letters.  That aspect of Ferry and company never fails.  Perhaps they looked at "Manifesto" as an experimentation to make a commercial album?   The technique is there, but not the spirit. 

Paul Bowles/Darius Milhaud/Gold & Fizdale - "Concerto for Two Pianos, Winds and Percussion" 10" Vinyl Album, 1950 (Columbia Masterworks)

Slowly (very slowly) I'm starting up a collection of Paul Bowles music on vinyl.  He is one of my favorite prose writers, who could write about alienation better than anyone on this planet.  In a sense, he's the ultimate "Existentialist" writer in his work as well as in life.  I have numerous books by and on Bowles, and still, one doesn't get a clear portrait of this odd figure.   He wasn't exactly the king of chit-chat or giving gossip, but he is one of those people who can be in a room, and you don't know who he is, but there is something powerful in his presence in that chamber.   There is a ghost-like skill he had, in that he was in the right place and time. 

What is not that well-known about him is his work as a composer.   Bowles first got attention for writing incidental music for the original Broadway production of various Tennesse Williams plays, such as "The Glass Menagerie."  He studied music under Aaron Copland, but what made him famous was his novel "The Sheltering Sky" published in 1949.    Although he wrote a lot of music, there are not that many recordings of his work.  It's interesting that "Concerto For Two Pianos, Winds and Percussion came out around the time of his first (and most famous) novel.  

Bowles fiction (both novels and short stories, which I feel he is the master) is dark.  The music, on the other hand, is light.  Still, "Concerto For Two Pianos" convey the Bowles spirit with respect to travel or an appreciation of other (foreign) cultures.  There's a restless quality to Bowles, and it shows up in his literature as well as in music.  I hear Asian, Pacific, and perhaps North African touches in this piece, as well as Manhattan New York.  It's modern in the sense that it's cosmopolitan and open to possibilities that were in the world at the time.   In essence, it's very Paul Bowles. 

The b-side is devoted to Darius Milhaud's "Carnaval à la Nouvelle-Orléans" (Carnival in New Orleans) and "Les Songs (Dreams)"   "Carnival.." is based on French Creole songs from New Orleans, and it's a musical portrait of a festival that took place in that city.  The only instrumentation on both pieces by Milhaud are the duo pianos played by Arthur Gold and Robert Fizdale.  The work is in an impressionistic and upbeat mood.  Like Bowles, Milhaud was interested in music from other cultures, and this piece has a slightly exotic touch as well.  Jazz made a huge impression on him, and there are traces of that type of music in his work.  It's interesting that Dave Brubeck was a student under Milhaud.  He also taught Burt Bacharach and Philip Glass. And Milhaud was a member of Les Six, a group of composers who worked with Jean Cocteau.  

Gold and Fizdale it seems collaborated together as pianists who worked on compositions that were written for two pianists.  The only other album I have by them is "A Picnic Cantata" written by Bowles with lyrics by the great American poet James Schuyler.  And that is superb as well.  Buying "A Picnic Cantata" as well as this album, I feel that I'm entering a fantastic rabbit hole, where if you reach the bottom, you're in this incredible sophisticated world of Manhattan citizens and their art.  The Bowles / Milhaud album is great because each composer compliments the other.  Gold and Fizdale had great taste. 

Magazine - "The Correct Use of Soap" Vinyl, LP, Album, 1980 (Virgin)

Magazine is one of the great post-punk bands.  It's a combination of vocalist Howard Devoto's lyrical writing skills, delivery and of course the magnificent presence of the other members of Magazine.  "The Correct Use of Soap" is their third album (four altogether), and I think the strongest of the litter. Due to Martin Hannett's production which is dry as a desert in a drought and the great songs written by the band at this time.  Keep in mind there is no such thing as a 'bad' Howard Devoto record, but there are some that are better than others. 

Hannett has a distinct sound for his recordings, and they are identifiable as a Phil Spector, or George Martin sound. Everything he has done one can imagine his DNA all over the record.  Still, he doesn't overpower the artist but compliments his sound techniques to their aesthetic.  The perfect example is "A Song From Under The Floorboards" which is a combination of the excellent production/sound meeting a fantastic song. There are layers in the recording, but it has a mono touch where you don't know where it is coming from.  In fact, perhaps one imagines that they are hearing something there, but could be the listener's ears adding touches to the record.  Hannett never over-produces a record, but often the music is contained in an airless room.  There is a psychology behind Hannett's work that is not open to the world, but very much all put in the corner of space.  Which is perfect for Magazine, especially Devoto who works his lyrics/vocals as a pencil sketchpad than say a vast canvas of someone like Scott Walker or David Bowie.  For Devoto, it's the details more than the big picture that one finds interesting.  

The opening cut on side one "Because You're Frightened" is the proto-type Magazine sound/approach.   It's sinister, dark, and more of a torture of small cuts than a big wound across one's neck.  The melody is beautiful, like all of Magazine's music, yet, it's a song that is attached to a certain amount of madness or danger.   "Model Worker," "I'm a Party," "You Never Knew Me," and "Philidelphia" blend into each other very well.  As a mood, it's like one big piece of music or a movement with five parts.   The only weak song for me on side two is "Stuck," but again it's comparing an apple with an orange.  

The great surprise here is their cover of Sly Stone's "Thank You (Fallettinme Be Mice Elf Agin)" which is just as great as Sly and the Family Stone's version.  There is a funk here on this song, but  "The Correct Use Of Soap" does lean on a groove, which is very funk influenced.   The sound of the band A Certain Ratio (another Factory record/Martin Hannett band) does show up on the album, but in a very faint afterthought. 

I have to give credit here to the whole group beside the genius of Devoto. They are guitarist /horn player John McGeoch (one of the greats of the British post-punk generation) future Bad Seed (among other bands)  bassist Barry Adamson, the drummer John Doyle, and the John Barry/soundtrack keyboard style of Dave Formula.   They make a beautifully orchestrated sound for Devoto and his lyrical brilliance. 

Lionel Bart - "Bart For Bart's Sake" Vinyl 10" Album, 1959 (Decca)

My obsession with London pop culture before The Beatles hit the scene goes overdrive in certain periods in my life.  Reading Andrew Loog Oldham's memoirs as well as others, one name comes up again and again, and that's Lionel Bart (1930-1999).   Bart was the ultimate insider of the British music and theater world.  He also was a painter, so he had a foot in the visual art world as well as in the theater in West End of London and beyond.  And of course, he's famous for his musical "Oliver."

Bart, who never learned to read or write music, wrote "Living Doll" for Cliff Richard, as well as writing "From Russia With Love," the central theme of the Bond film.  One of the interesting aspects of Bart's work is the use of the Cockney language or accent in his lyrics.  Apparently used in his first  'solo' album "Bart For Bart's Sake."  Released in 1959, this is Bart right in the middle of the Rock n' Roll presence in the U.K.  Artists like Tommy Steele and Cliff Richard becoming the British wave, due to Elvis not touring the U.K.  This is not a rock n' roll album, but a set of songs from the Theater, but all from the source that's Lionel Bart. 

"Bart For Bart's Sake" is a superb snapshot of London showbiz, but with the presence of satire, and again, the use of Cockney rhymes and accent. Also noted, is his awareness of the album format, which he gives every song here an introduction of sorts, even commenting to the listener you're on side two of the record.  Most of the songs on this 10" album come from an obscure Bart musical - but clearly, makes commentary on the sexual landscape of that culture.  It borders on the "Carry On..." films of the late 50s and 60s.  It's a total performance piece, with a strong presence of Laurie Johnson's arrangement, who is famous for the (British) Avengers TV series soundtrack.   This is very much the root of the swinging 60s, which Bart fully participated in with great force, but with some destructive side-effects on his mental and physical health.  

Bart knew everyone from Larry Parnes (the ultimate music manager of his time) to David Bowie.  He had his finger on the pulse of London music culture, and now, sort of a cloudy individual of that world - especially in the United States.   I suspect that if someone wrote a full biography on Bart, it would be one of the great showbiz biographies of them all. 

Yes - "The Yes Album" Vinyl, LP, Album, 1971 (Atlantic)

Taft High School.  That should be the title of "The Yes Album."  I never owned this album due that every student at Taft High School had a copy of this record.   I kind of liked it that I was the 'only' person on that campus who didn't have a Yes album, especially "The Yes Album."  Overall my teenage life got better in the year 1971.  I loathe my Junior High School, but I have very few complaints about Taft.  The fact that I was fundamentally a C- student throughout the three years there, yet my social life was total straight A's.  The girls were pretty, the guys intriguing, and to base one's whole day on lunchtime at Taft was my primary goal on a daily basis.   So in that sense, I was a total success.  Still, I avoided "The Yes Album" like the plague. 

It wasn't until the year 2017 that I realized that I'm a snob.  If a great percentage of the population likes something, I'll hate it.  Clearly, as a teenager, Yes (the band)  was a major part of the machinery of teenage life.  All five members of Yes (at the time) were extremely great musicians, so it was the first fling of a well-tuned and proper recording artist that one can respect for their skills.   The thing was, I never cared for skilled musicians at the time.  I was more impressed with the imagery of a band or artist than how will they put together a song.  

Steve Howe (guitar), Chris Squire (bass), Bill Bruford (drums), Jon Anderson (vocals) and Tony Kaye (keyboards).   One can swear that all of them had proper music lessons as children.  The truth is, when one wasn't looking, I secretly admired their songs when it was played on the FM radio.   I liked "All Good People."   Even now, not listening to the album, I can hear the whole track in my mind.  It's the perfect pop ditty that stays in one's head, even when they are taking a hot bath, and your brain is just floating on top of the oiled bath water.   

A few months ago I found this album at Rockaway Records (in Silver Lake) for $4.99.  I couldn't resist buying the album.  The odd thing is that I didn't even pause and think about it, I just took it to the counter and bought "The Yes Album."  I would like to think that it was nostalgia that made me buy it, but more like an unfinished business with my past.   I was curious what a 63-year-old man would think, and how different was it from a 15-year-old teenager's ears.   To my surprise, the album doesn't suck.   For sure, the price of admission is worth it just for "Starship Trooper."  A song in three separate parts, each written by a member of the band.  The classic part is "Würm" by guitarist Steve Howe. It's a proper guitar rave-up that is catchy but also builds in intensity.   That one piece alone makes this album 'almost' essential, and it would be if I weren't such a snob. 

"Yours is No Disgrace" and "I've Seen All Good People" is pretty great as well.  But to be honest, I consistently play "Würm" over and over again.  It's almost a meditative piece of work for me.  I like to write to the music when it's background noise.  The other interesting thing about "The Yes Album" is that I feel it's the foundation for David Bowie's "Station to Station" album.  Tony Kaye who played with Yes, also worked with Bowie on "Station to Station."  Musically not the same, but the format of the album with its many themes and only having six songs strikes me as a work that influenced "Station to Station."  At this point and time, I have no interest in checking out the rest of Yes' catalog.  I think "The Yes Album" is good enough.  

Steve Reich - "Drumming/Music for Mallet Instruments, Voices & Organ/Six Pianos" 3XVinyl Box Set, 1974 (Deutsche Grammophon)

The ultimate recording from Steve Reich.  Three albums of minimal persuasion and keyboard work that is maximum in scope and sound.   Reich's work is not meditative music, but one where the listener has to sit in front of the speakers and let this aural wash come and take you over. I have to presume that these three albums were released separately, but due to some marketing genius on the label has decided to make it into a Box-Set.  Going through all three albums in one sitting may be tough, not because of the work itself, but each piece is a demanding presence in one's life. For me, it has an exotic appeal, because I think of mallets coming from a foreign island in the Pacific.  Again, what do I know, but that is the visual image I get while listening to "Music for Mallet Instruments, Voices & Organ." 

All pieces by Reich strike me as a pattern.  When I hear this music, I see structures or things being attached to each other.  There is an architectural quality to Reich's compositions.  There's a foundation built, and then he adds textures on top of that landscape, and I feel he's building from the ground and then up to the sky.   I'm sure there is a spiritual aspect to Reich, but for me, it is more about the mechanics of life, as if it was a cycle.  The Four Seasons, Sunday through Saturday, the 24-hour day, I feel all of that is very much part of Reich's aesthetic.  So when you go into Reich's world, you have to surrender 'your' sense of time and be merged into the Reich world. 

Michel Legrand & Emil Stern - "Twenty Moods for Pianos" Vinyl, LP, Album,

In one word to describe this album: charm.  There is something about Michel Legrand that rings out all the ugly emotion within me and turn it all into pure bliss.  Hearing his music throughout the years just makes me happy.  I love his soundtrack work (especially with the legendary Jacques Demy), pop songs, elevator music, and his jazz playing with such as Miles Davis.  Even his vocals are fantastic, and the album he did with Jack Jones, superb! 

The beauty of Michel Legrand is that he masters all sorts of music, yet, he remains French sounding.  Even his recordings with American Be-Bop legendary greats sounds like a French man playing with the dudes from New York City - and yet, it's incredible.  And then on top of that, he did a whole album of just him playing on the piano, Erik Satie music.   What is there not to like about him?  Here he teams up with another French pianist/musician Emil Stern.  There are 20 songs on this album that goes by quickly and incredibly enjoyable.  Backed by a stand-up bass and drums, this is a dynamic adventure into the Left as well as the Right Bank of Paris culture.  There are songs by Gilbert Becaud, and oddly enough Eddie Constantine, who was the leading actor in Godard's "Alphaville."  He was an American who somehow got himself in France and became a massive European star.  I knew he sang (they all do you know) but he also wrote two pieces on this album.  There's also a pair of Cole Porter songs -of course, dealing with Pariee.   

As mentioned, like all of Legrand's work, there is a charm to its music or performance. It's not a sickly cute charm, but one of great character and Legrand strikes me as a professional and artist who always gives his best.  So yeah, in essence, this is music to have a drink to before dinner.  The only darkness on this album is the color of the vinyl.   A great find for me at Rockaway Records a few years ago.  Researching this record, it came from South Africa, but not sure of its release date.  I guess that the release date is in the early 50s before Legrand really got huge.  His dad was a very successful orchestrational leader, and his sister, Christiane Legrand is a God-given talent as a singer.  A great family that's full of beautiful music.  I'm happy. 

Michel Polnareff - "Âme Caline" EP, Vinyl, 7" 45 RPM, France, 1967 (Disc'Az)

If Lou Christie was French.  This perfect French pop EP is Michel Poinareff at his height, creatively speaking.  Polnareff has the tendency to go over-the-top, in that I suspect his life was one of the great lows and intense highs.  "Ame Caline", the opening song of this EP, is a piano ballad, but sweeping strings, and Polnareff's Lou Christie-like high voice coming in, as a wave hits the beach.  Compared to other French pop at the time there is a bite and a greater music scope or landscape in his work.  A lot of his early work is an odd combination of garage rock meets grandeur arrangements.  "Le Roi des Fourmis" has a lot of percussion, a prominent organ, and is beautifully arranged into a wall of sound.  

Beside this EP, I have a greatest hits collection that I purchased in Fukuoka Japan.  Again, it's not hard to locate Polareff in Japan, it seems he's a well-known figure there compared to the United States, which is not the easiest place to find his recordings (although, not impossible).   Since I don't read French, I'm sure there's information about him that is missed between the languages.  Still, I suspect that he's a very unique figure in the French pop world.  He writes his material, and I sense no one controls his output except himself.  

There are four songs on this EP, besides the two mentioned already there's "Fat Madame" sung in English and co-written by Ray Singer, who worked with the British band Nirvana.  An excellent track which weirdly reminds me of Cockney Rebel.  Or if Steve Harley meets Peter Noone of Herman Hermits fame.  The last track "Le Saule Pleureur" is a sonic soup of various ingredients.  A mixture of flute, unique backup vocal, - in 1967, it was a great year for experimentation in the pop format, and I think Polnareff was very much part of that world. 

Chantal Goya - "Masculin Féminin" CD, EP, French, OST, 1966/2006 (Magic Records)

It's funny that I can recall the day when I found a CD version of the OST EP of Jean-Luc Godard's "Masculin Feminin."  I was shopping in Tower Shinjuku Tokyo and was with a friend, and bingo, this came out of nowhere.  I bought a copy for a friend who was taking me around Tokyo that day, and one for myself.   As an artifact, it's priceless, as art, it's not bad.  What makes it great is that it's the soundtrack to Godard's great film.   In essence, one feels that they own something that is from ground zero on the planet French New Wave.  

Originally the "Masculin Feminin" was released as a 7" EP in 1966.   It has six songs on it, which is unusual because most French 7" EP's had only four songs.  Nevertheless, this is a compact pop history that is even hard for me to write about with respect if it's good or not.   The last three songs (on vinyl, side two) are superb and iconic Yé-Yé recordings.  The first three is good, but for me, it's side two that kicks butt.   

On the other hand, compared to artists like France Gall and of course Hardy, she doesn't come close to their greatness.  Still, this being connected to such a perfection that is Godard's work, it's a must for anyone who has the Jean-Luc bug.   Very difficult to find in any format at the moment.  The French label Sam Records has put out a lot of fascinating (CD) reissues from the 1960s, including British artists as well as French, of course.   They do great packaging as well as preserving essential music that may have fallen through the cracks of time. 

Roxy Music - "Pyjamarama b/w "The Pride And The Pain" 45 rpm vinyl, 1973 (Island)

The b-side to "Pyjamarama" the great song by Roxy Music, is"The Pride And The Pain" which sounds like if Bryan Ferry left the band and was replaced by Ennio Morricone.  It took me awhile to find this recording because once I heard it, I loved it.  There is a CD version that is on one of their Roxy Music box sets put out some years ago, but finally, I have the single.  

"The Pride and The Pain" is written by Andy Mackay.  It features his distinctive oboe playing but mixed in with the minimal piano, Phil Manzanera's Italian sounding electric guitar, Eno's (I presume) sound of the wind and off-mike vocals or talking, and like the title, it does bring Morricone's great spaghetti western soundtracks from the 1960s.  This recording is too great to be lost in the heaps of b-sides that never made it onto albums. 

"Pyjamarama" is essential early Roxy.  The great guitar cords in the beginning, but before the melody and Ferry's voice kicks in - it's a natural music high at this point.  One wonders why this song is not on the "For Your Pleasure" album, but at the same time, it does exist quite well as a stand-alone single.  It's a classic Roxy piece, but again, the b-side "The Pride And The Pain" is really amazing.

The Associates - "Perhaps" Vinyl, LP, Album, 1985 (WEA)

Billy MacKenzie's passions were in this order:  His dogs,  his family, and then music.  And I suspect he hated the music business. Which explains why he didn't go for the gold when it was evident that his talents were placed above so many others in the music world.  Without a doubt, his greatness was magnified by his work with Alan Rankine.  The first three Associates albums were magnificent in its scope, design and of course, the voice of MacKenzie.  When Rankine left the partnership, MacKenzie lost the driver, yet, he still made gorgeous pop music. 

"Perhaps" is the first album without Rankine, and it's produced by various people on different tracks. Martin Rushent did half, and Martyn Ware of Human League/Heaven 17/B.E.F. did the others, with some self-production by MacKenzie.  As a whole, the album sounds like a bunch of singles with the additional b-sides added to the package.   It doesn't have a consistency as the other Associates' albums.  On the other hand, you're going to get pop perfection in all its glory with songs like the title cut "Perhaps," "Those First Impressions," "Breakfast," "Thirteen Feelings," and others.  For one, the songwriting of Billy MacKenzie doesn't falter.  As a lyricist he's superb, but also he can sing the text off a cereal box and make it magnificent sounding.  For sure, with Rankine, he was pushing boundaries, and here he's singing magnificent pop.  The production makes the record sound very 1985, but if you go beyond that, there are incredible songs on this album.   In fact, over time in 1985, MacKenzie did a live concert with just his voice and a piano player.  Hardcore Billy music.  One of the great figures from the Post-Punk world, this album is essential to the Associates' world.  If for nothing else, for the comparison of the two sides of The Associates and just a reminder how great the Rankine/MacKenzie team were. 

Sacha Distel - "La La Song" 7" 45rpm EP, French, 1964 (RCA)

The Last of the International Playboys, if that were a social club, then surely French singer/guitarist Sacha Distel would have been a member.   I discovered him through my obsession with the world that surrounded Boris Vian, the author I published with my press TamTam Books.  Distel was a guy who was in the right place, Paris, and to be specific, at the Saint-Germain des Prés nightclubs and had an obsession with be-bop jazz.   Studied under and pal with the great Henri Salvador, Distel played guitar with artists like The Modern Jazz Quartet, Dizzy Gillespie, as well as with top French jazz musicians.  In the late 1950s, he became internationally famous for being Brigitte Bardot's lover, which in turn introduced himself into a favourite vocalist.

When I think of Sacha Distel, it is in two separate compartments.  One as a massive French pop singer star, and the other as a great jazz guitarist.  Rarely did the two forms of music met on his recordings.  For the casual fan, he is probably thought of as an entertainer who sings.   It's much harder to locate his work on vinyl/CD of his Jazz-leaning guitar work.  I went to Amoeba yesterday and found this French issued 7" EP, of Sacha singing  "La La Song," which is not fantastic, but nevertheless a good French pop song.  The other three songs on the EP are based on Amerian songs with French lyrics written by Maurice Tézé, who worked a lot as a lyricist with Distel.   The best song on this EP is J'aimerais Être Là (I Wanna Be Around) which is based on a Johnny Mercer tune.   The real stars of these recordings are the arrangers.  Three songs are arranged by the Boris Vian/Serge Gainsbourg associate Alain Gorgaguer (as well as doing the futuristic soundtrack to the animated "La Planète Sauvage) and Michel Colombier, another artist who worked with Gainsbourg.  For those in the know, when you see those names attached to a recording, it is usually a good sign that they're good. 

Duane Eddy His 'Twangy' Guitar and the Rebels - "Peter Gunn" b/w "Along the Navajo Trail" 7" 45 rpm vinyl, 1960 (Jamie)

The killer riff of all riffs of all time.  Henry Mancini's recording of "Peter Gunn" is just as fantastic, to be honest, but of course, for that sound that breaks doors and a few windows, Duane Eddy's great recording of this song is essential.   I purchased this 45 rpm single about a month ago, and when I put it on my hi-fi system, it was like unleashing a powerful presence in the room.   Even on a piece of vinyl that is 57 years old, it still a shock of a listening experience. 

The honkin' sax that floats over the guitar riff, the relentless rhythm section, and the magic touch of just hearing the guitar by itself, and then the bass comes on, and the whole band joins in.  The record is architecture.  It has a foundation that the sounds are built on, and it's perfection.  Lee Hazelwood and Lester Sill made a mountain of sound for this recording. 

It's a shock to flip to the b-side of "Along the Navajo Trail" which is classic pre-rock pop, with backup vocals, that for me, makes me focus on than Eddy's guitar.  A cool recording, but by no means is it "Peter Gunn."  In fact, nothing in this world comes close to "Peter Gunn."  

Ennio Morricone - "Indagine su un Cittadino ai di Sopra di Ogni Sospetto" OST, Vinyl, LP, Album, Limited Edition, 1981/2015 (AMS Records)

One of Ennio Morricone's playful scores.  "Indagine Su un Cittadino ai di Sopra di Ogni Sospetto" (Investigation Of A Citizen Above Suspicion) sounds like a dark comedy, but the fact is the film is a suspense movie.  The thing about Morricone is that he never gives you what one expects, but something extra.  If you have to categorize his works, for instance, his avant-garde scores compared to his 'pop' pieces, lush orchestrations, then this one would be his melodic soundtrack.  It borderlines on his Spaghetti western soundtracks.  There are the 'boings' and odd percussion throughout the score.  The record is chamber music, in that it's not a large ensemble playing this music.  Everything is understated, for the exposure of the main melody.  Unusual harpsicords come in the mix, with perhaps a trombone is thrown in for good measure.   There is a delicacy in the playing and within the score's arrangements.  The album is a perfect introduction to Morricone's work for the beginner.  Intriguing melodies played over a perfect mixture of instruments.  

This edition of "Indagine Su un Cittadino ai di Sopra di Ogni Sospetto" is the one to get.  Incredible packaging with liner notes, and a separate LP sized poster of lobby cards for the film.  A film geek's sense of heaven.  In a limited edition of 500.

Various Artists - "Jack Good's 'Oh Boy!'" Vinyl, LP, Album, UK, 1958/1978 (EMI)

The 'commercial' roots of British rock n' roll is all here on this album.  Jack Good, who is still alive at the age of 86, was a pioneer for rock n' roll TV.   His British show "Oh Boy!" was the first variety program devoted to British (pre) rock artists such as Cliff Richard and Billy Fury.  The show lasted for 30 minutes and it was packed with non-stop music.  No song lasted more than a minute, and it was like a variety show with an Amphetamine approach to its timing and management.  The other significant wrench is that Good allowed the audience to be part of the show, with the artists surrounding themselves with the audience, most if not all teenagers.  

"Jack Good's 'Oh Boy!" album is a live soundtrack to the show.  Listening to it now in 2017, it's a weird reminder of how rock was packaged almost 60 years ago.  Cliff Richard sings seven songs, but also includes the talents of the incredible John Barry Seven, way before his work on the James Bond films.  Other artists here are Vince Eager, Two Vernon Girls, and Neville Taylor & The Cutters.  The beauty and the essence of this recording are not really the music, but a snapshot view of British showbiz before the Beatles hit the scene.   Jack Good eventually made it over to America where he created the show "Shindig!" (1964-1966) which focused on the British Invasion at the time, as well as popular pop/rock acts.  

"Oh Boy!" is one of the first shows specifically made for the British teenage market.  It's interesting how the teenager became a vocal/social, and even more important, an economic model that fueled an industry.  The 'beat' cannot be ignored anymore!

Television - "Marquee Moon" CD, Album, Reissue, Remastered, 1977 (Elektra/Rhino)

The stark image by Robert Mapplethorpe of Fred Smith, Tom Verlaine, Richard Lloyd, and Billy Ficca A.KA. Television sets the tone what is inside the package.  Before the Internet, and yes, there's radio, but it was pretty useless for those who live in Los Angeles and therefore didn't have access to the tidal wave of new bands in New York at the time.  I've read about Television, and even more intrigued by their photographs of the time.  They never smiled, nor do they look like they enjoy each other's company.  The only goofy/fun one was Richard Hell, but he left the band by the time of this album's release.  

I think I first heard of the band in 1975, so through publications like The Village Voice, I kept track of this band and was very curious what their sound was like.   The critical response from their shows seemed chaotic from boredom to spiritual enlightenment.  Alas, I purchased the 45 rpm single of "Johnny Little Jewel" (Part 1 and 2, like a James Brown single from the late 1960s), and was transformed by the words, Verlaine's voice, and of course, those two magical guitars working at and against the slippery bass and drums.  When they reissued this remastered CD, the folks on the label were smart to add this song to the package.  

"Marquee Moon" is without a doubt, a classic recording.  The albums' mixture of intensity, beauty, drama, and you know these guys probably didn't move much on the stage.  Verlaine's lyrics/poetry would read like Raymond Chandler if he were a beat poet.  Romantic, yet tough, but with strong visual poetics that gives a picture while listening to the music.  Their stance of attachment or coolness mixed in with a focus on a classic rock two guitars, bass, drums sound is essentially fantastic. In my mind, since Elektra originally signed the band, I think of them as younger brothers to the other Elektra acts Love and The Stooges.  Of all the labels in the world, Television is an Elektra band.  With respect to the band's devotion to the music, and doing things their way.   The way Verlaine and Lloyd would work their guitars separate from each other, and in a sense giving little stabs, stings, and a sense of play, and then on the chorus, they join sensually and sexually manner.  There are a lot of great guitar bands, and one can argue who is better than the other.  The truth is Television is unique, and I think it's not only due to the talents of Verlaine's writing (although I suspect the others had their two or three cents in) the whole chemistry of the band, working together.  Indeed a gang, a group at work.  Perfection practiced by professionals. 

Giovanni Fusco - "L'Eclisse" Vinyl, LP, OST, Album, Limited Edition (500), 2016 (Doxy Cinematic)

"L'Eclisse" is an Italian film made in 1962, starring Monica Vitti and Alain Delon, directed by Michelangelo Antonioni.  The soundtrack to the movie is by Giovanni Fusco, who also did the music for Alain Resnais'"Hiroshima, Mon Amour," as well for other Antonioni films.  About a week ago I saw "L'Eclisse, " and I loved the soundtrack.  I located a copy very recently, and I'm very impressed with Fusco's music.   The music is so much of the visuals, but here, I try to not think of the film, and just focus on the music. 

On this album, we get six versions of Mina's "Eclisse Twist."  One in Italian (of course), French, Spanish, English, an instrumental, and a slow-downed version.  That alone is worth the price of the album.   The additional greatness is Fusco's moody music that is minimal and dramatic.  While listening to Fusco's music, it reminded me of Angelo Badalamenti's work with David Lynch.  Perhaps due to the juxtaposition of a rock n' roll tune ("Eclisse Twist") with Fusco's borderline avant-garde composing.  In the same manner of a Roy Orbison song fitting into Badalamenti's score for "Blue Velvet," the same goes for the dynamic combination of Mina (an Italian 60s pop singer) and Fusco. 

The film "L'Eclisse" is slow-paced and takes its time to unveil its seductive relationship between Delon and Vitti, as well as presenting the world that is empty.  The music also conveys that unbalanced where things are not settled.  "Eclisse Twist" throws a wrench in the process, and it's very effective to go from one mood (celebrating) to the other (contemplating).   And back again.  The film and the soundtrack is a beautiful piece of work.  

Also, I want to give praise for the label Doxy or Doxy Cinematic.  I suspect that they operate in the gray area of bootlegging, but do a superb job concerning the sound of the vinyl, as well as the design work, and even more important, their ability to curate their series in a thoughtful and excellently manner.  

The Explorers - "Explorers" Vinyl, LP, Album, 1985

What would Roxy Music sound like without Bryan Ferry?  The Explorers are the answer to that question.  It's a band that made only one album, and it included Phil Manzanera and Andy Mackay from  Roxy Music. James Wraith is the vocalist for this band, and if I'm not mistaken the other musicians on this album also played in the Roxy Music format.  When Bryan Ferry got himself in the recording of "Boys and Girls" after their iconic nod to the smooth pop world of "Avalon," Phil and Andy made their move with The Explorers.  

Listening to the album, I can imagine some of these songs being Roxy Music material.  One can easily imagine Ferry taking over the vocals of Wraith.  In fact, Wraith, here and there, sounds like a Ferry imitator.  Or perhaps he was instructed by Manzanera and Mackay to do so.  In that sense, the songs here sound like demos for a future Roxy Music album.  "Explorers" is not the worse album in the world, but it's a weak record.  On the other hand, it's interesting to hear the Roxy textures that are on these recordings.  As I have stated before, Manzanera and Mackay are very much the sound of Roxy Music, and it's not all Bryan Ferry.  

There are three excellent songs here, that would fit perfectly in a Roxy project.  They are "Lorelei," "Breath of Life," and "Venus De Milo" (and no, it's not the Television song).  These songs are right in the middle of side one, which thinks gives hope for side two.  Alas, that's not the case.  The other disturbing aspect of this album is that Phil and Andy don't leap over the fence like they did with respect to their first solo albums.   One of the things I loved about Mackay's first solo album that it was a crazed mixture of Joe Meek sounds, with a degree of camp thrown in - and Manzanera's "Diamond Head" is a great mix of Latin/pop/prog/avant-garde touches.  "Explorers" unlike that very name, is a band playing it safe in the mid-80s.  It's a shame that they went for a commercial sound than something experimental and wild.  In fact, it's shocking that those two didn't forge ahead in making sounds that maybe similar to Eno or even David Sylvian of that time.   If you're a Roxy Music completest and must fill that missing hole in their history, then, by all means, do get the album.  As mentioned there are some highlights, but it's like a human being looking for water in Death Valley.  

Morrissey - "Bona Drag" CD, Compilation, 1990 (Sire)

I'm one of the few (or not) that feel 'solo' Morrissey is better than The Smiths.  Nothing against the brilliance of Johnny Marr and the other lads in that band, but more of Morrissey becoming a better writer and singer.  "Bona Drag" is a greatest hits album in theory, but also a perfect snapshot of Morrissey's stance and work in 1990, the release of this collection of singles, b-sides, and choice album cuts.  For me, there is not one weak cut here, and on top of that, there are some of my all-time favorite Morrissey songs.  For example:  "Interesting Drug," "The Last of the Famous International Playboys,"  (the magnificent) "Ouija Ouija Board," "Hairdresser on Fire," and "Disappointed."  I would add more but be listing songs is boring to read! 

The great thing about Morrissey is that he's culture.  It's not really about Morrissey (for me), but also the ingredients that he brings to "Morrissey."  For instance the kitchen-sink British literature and films, forgotten music hall artists, gay icons, and so forth.  He's a great curator or someone who likes 'Show & Tell."  He brings his influences out front and exposes them to a wider audience, yet, still keep their mystery and charisma intact.  In that sense, Morrissey is the gift that keeps on giving.  Everything he does is coded within and from the Morrissey world.  I'm sincerely thankful for his presence in my life. 

Also of note, it's interesting that when one brings up the word "Morrissey" to a mixed crowd, one is going to hear strong opinions for and against this provocateur artist.  In a world of crashing bores, it is an accomplishment to have a figure like Morrissey that can still cause a reaction from people's gut, soul, and brain.  Sometimes I feel there is general 'logic, ' but Morrissey operates on his own 'logic,' that is sometimes confusing, frustrating, and weird.  Still, if you go pass that, Morrissey is clearly one of the great British lyricists of our times/era.   He never pleases the listener with something digestible and easy to swallow.   And not every song is a masterpiece; still, he's a remarkable public figure and artist. 

1990 was a peak year for Morrissey.  "Bona Drag" is an excellent record of those times, and he's truly one-of-a-kind figure in modern pop culture.  For those who love him, he will always be around, and if you hate him, at the very least, he's an outlet for one's frustration against the world.  Genius sometimes doesn't play by the rules.  Feel free to criticize the artist that's Morrissey, but understand to do so is very much part of the masterstroke of his genius.  Attention is something that will always be in Morrissey's hands. 

Japan - "Quiet Life" CD, Album, Reissue, 2001/1979 (BMG)

When the most unfashionable band in existence became the most fashionable band in the era of the new romantic.   How they made that work is a total mystery to me.  Japan's first two albums I have heard bits and pieces but never could take them seriously due to their appearance and worse, the name of their band.  It's common knowledge that bands that name themselves after places, especially countries, in theory, suck.   Yet somehow, David Sylvian, Mick Karn, Steve Jansen (David's brother), Richard Barbieri and guitarist Rob Dean managed to turn themselves into sophisticated sonic artists. 

It's like they made a deal with Satan at the crossroads.  Nevertheless, it must have been an 'ah-ha' moment for all those involved. 

What's interesting, and who I think is an essential person in their change of tactics is their producer John Punter.  Punter worked with Bryan Ferry and Roxy Music on their/his early solo recordings  The first thing I think of when listening to Japan is Roxy Music.  Sylvian took on the Bryan Ferry voice mannerisms, and the instruments became more Roxy like, but with additional sonic textures that were their own making.  The interesting thing about Sylvian is that he truly transform himself into a different type of singer/performer/writer.  Sylvian's songs reflected his mood, but with a European icy aesthetic that pretty much removed them from their London roots.  Also in future recordings, they worked with Steve Nye, another long-term Roxy/Eno associate.  The results of these relationships and in the band's artistry is remarkable. 

"Quiet Life" is the first 'new' version of Japan.  The original vinyl album had eight songs, but the CD reissue has 12 altogether, with two being remixes for the 12" market, and the additional "Life in Tokyo" produced and co-written by the great Giorgio Moroder.   Sylvian is not a man of action, but a figure who reflects on his surroundings, and contemplates on the nature of his world.  With his deep ballad (Ferry like) croon, his voice floats over the instrumentation, which has one very particular instrument - and that's Mick Karn's fretless bass.  Karn is the secret ingredient to Japan's success. Sylvian looked like a cross-dressing fashion model out of Vogue, but Karn had a Mediterranian good looking vibe, but also his distinctive playing of the bass is a huge part of their overall sound.  In a sense, it is like there are two singers in Japan.  Sylvian with his voice and the other voice is the bass.  Also noted is that the front cover is Sylvian by himself, but the back cover is Karn. Which suggests that the band is Sylvan on one side, and the other is Karn, with the rest of the group being in the middle of those two, as they are displayed in the inner sleeve. The keyboard work from  Barbieri (as well as Sylvian) is never based on chords, but more with sound. It's very organized musiques concréte, with jazz-like drumming from Jansen.  

The weird juxtaposition of them being pin-up teen idols, but with a very sophisticated sound must have been an odd experience for both the fan and musicians.   Although the music is loose, it is still very contained in an airless box, which makes listening to a "Quiet Life" an exciting experience.  The songs are all beautiful.  The pacing is quite slow, but it's the textures that keep one's interest throughout the album.  Their cover of the Velvet Underground's "All Tomorrow's Parties" is a perfect vehicle of a song for them to do.  On the surface captures the sense of dread within a social world, and Japan, at this point, is out of that world, and in a much-confined inner-world.  

"Quiet Life" is by no means an ambient album, but I think a listener can tell that the group was heading toward a place that is 'furniture music' (Satie), but here they still explore the boundaries of the pop music format.  If the new listener can get past their silly name, one will be awarded an impressive landscape that is Japan's music. 

LCD Soundsystem - "American Dream" 2 X Vinyl, LP, Album, 2017 (Columbia/DFA)

To be honest with you, I had a gut reaction or feeling about bands coming from the New York City area in the 21st century.   The feeling is, I've done that and been there.   When I read about bands like LCD Soundsystem, it didn't sound appealing.  Especially when its leader James Murphy started producing bands like Arcade Fire, which is not exactly a passionate love for me, but actually a band I can't stand.  Still, I wonder, is this more of a 'me' problem than an LCD Soundtrack problem.  Listening to their new album "American Dream," I have decided that I'm a music snob, and regional (not) sensitive.  But alas, I have the vinyl of this album, and I blasted it through my speakers, and it's... terrific.

First of all listening to this album, I think of Pulp, David Bowie (Lodger), Talking Heads (Remain in Light), and oddly enough Public Image Ltd.   So yes, in my first listening experience I'm playing the game of 'where have I heard this sound before?"   And it's true, Murphy is obviously a fan of all that I mentioned above, yet, is that a bad thing?   No.  

I can't speak for his other recordings, due that my prejudice stopped me from even hearing one note of the older material.  So "American Dream" is very much the only experience I have with LCD Soundsystem.   First off, this is a fantastic sounding record (on vinyl).   The mix and textures are superb, and Murphy's and the other's melodies are really good.  He doesn't do original, but what he does well is taste.  He has the 'taste' to capture moments from other bands and make it his own, in a fashion.   I do have this snob thing about originality, but fuck that.  I think I found a new category of music that's influenced and very much part of a music's history, but a new work.  It kind of reminds me of how David Sylvian in Japan adopted Erik Satie to one of his songs.  Murphy is smart, and as mentioned, he has a taste. 

The record is also analog-ish, and I suspect Murphy is an instrument junkie. One other thing, even though the inner sleeve shows all eight musicians, this album is basically all James Murphy playing most of the instruments, with maybe two others at a time, helping him out on the recordings.  Nevertheless, there is not a bad cut on the record.   "Call The Police," "American Dream," (especially this song) is good as one can get, and the last track is a sonic beauty "Black Screen" which I suspect is about Bowie's death.  The other groove like here is that three sides have the inner-groove (is that what it's called?) where the song keeps going.  Nice vinyl touch.   Great album. 

Dave Dee, Dozy, Beaky, Mick & Tich - "Greatest Hits" Vinyl, LP, Compilation, 1984 (Philips)

The annoying thing about this band from the British Invasion 1960s is their name: Dave Dee, Dozy, Beaky, Mick & Tich (future reference for this piece DD-DBMT).  God knows what happens if one dropped out of the band, but reading the liner notes on this specific album, all their names are fake.  So in theory, the musicians can be replaceable, because anyone can be Tich.  The other problem I have is due to my memory, I can't recall the name of their band if I didn't have a piece of paper in front of me with their name on it.  I can remember up to Dave Dee, and I know there's a Mick somewhere there, but beyond that, memory failure.    On the other hand, they're one of my favorite 'pop' bands of that period.   Their music lacks any authentic feelings, and in fact is pure pop wallpaper music.  Which is often bad, but somehow DD-DBMT is brilliant at it. 

Their key element is that all their songs are written by Ken Howard and Alan Blaikley, sometimes known as Howard Blaikley on liner notes or label credits.  They are also responsible for The Honeycombs (Joe Meek band), one of my favorite all time bands.   On one level, they're hack songwriters, but like DD-DBMT, they have a particularly brilliant zeal to their work.  And interesting enough, their songs for DD-DBMT are entirely different from The Honeycombs. I wouldn't think they were the same songwriters.  The Honeycombs are theatrical mood pieces, set to a pop medium, but DD-DBMT is almost goofy and clearly in their later years very much over-the-top productions.  

I first heard DD-DBMT watching an early performance piece on video by Gilbert and George.  They did a great dance to "Bend It," one of DD-DBMT's greatest songs.   It may have been a minor hit on American airwaves as well, but my memory (like remembering this band's name) is cloudy, but for sure the song made a huge impression on me through the talents of Gilbert & George.  I have three separate greatest hits collections by them.  Two are on vinyl, one on CD, and I also on my computer have their original albums issued in Japan about ten years ago.   The early DD-DBMT material was very straight ahead mod-like pop.  But very commercial with incredibly strong choruses.  Catchy as hell!  In a nutshell, superb 45 rpm singles. 

What's interesting about the compilation album I'm writing about now, are the songs on side two.  All are made later in their careers and very ambitious in sound and scope.  Still, entirely in the pop medium, but kind of koo-koo in theory and sound wise.  "Zabadak" and "Legend of Xanadu" are ridiculous.  Which is a big aspect of their appeal or specialness.  Fake exotica with a crazed production, it's a hard piece of work to avoid or ignore.  One of their greatest songs is "Last Night in Soho," one of the best, if not THE most fantastic song regarding that part of London, and its nightlife.   My advice is to track down the greatest hits albums (I think there are many editions throughout the world) and swing with the songs.  Pure ear candy. 

Sparks - "Hippopotamus" 2 x Vinyl, LP, Album, 2017 (BMG)

Sparks equal perfection.   I can never fully understand how someone can write beautiful melodies and equally write words to these songs that fit perfectly, yet are jarring in their meaning and juxtaposition of the melody and lyric.  It's supernatural forces at work, yet, I do know them, and what they do is meet every day, except maybe on Sunday's, to work on their writing/recordings.   A lot of people do that, yet they come up with crap.  Sparks come up with works of genius.

"Hippopotamus" is a collection of songs, for whatever reason, I find moving. There's the humor, but it has a foundation in everyday life, and it reflects on the follies and disappointments that come with the world that we live in.  Russell Mael's singing/voice is the perfect instrument to Ron's words.  It is not only Russell's vocal abilities (which are great) but the knack to get into characters, and not come off as sounding cold, or smart-alecky.  There is a lot of soul in these set of songs by Sparks. 

The title song "Hippopotamus" is like a John Ashbery (or some other New York School of Poet) set to music.  Although nothing alike, the spirit is very modern with the ability to explore the potential of language.  Reading the lyrics to all the songs on this album is interesting because you can see the craft that is put into the works, and it doesn't lack passion, but the appreciation of the songwriting craft.   Bowie always struck me as a songwriter that is schooled in a craft, and that they are not only artists but incredible craftsman in their work.   Sparks is like a master shoemaker.  They know how to take your foot and measure it correctly to make one the perfect pair of shoes.  This whole album fits perfectly into my consciousness.  

My favorite cuts on this album are not the obvious great hits here, and there is plenty of that - but songs like "A Little Bit Fun" is a beautiful meditation on joy, fun, and love.  Its sentiment is simple, but with the minimal melody, psychedelic underneath texture, and Russell's tonality, it's a masterpiece.  I have a top ten Sparks fave list that keeps changing, but this song is on that list for sure, and not only that, I played this song six times in a row today!  "Life With The Macbeths" is another sonic beauty of a song.  A perfect closing to this album.    A humorous lyric, but the music is pure deadly.   Haunted melody; kind of perfect to play around 3 in the morning, and playing it loud.  

The single from this album should be a huge hit.  "Edith Piaf (Said It Better Than Me)" is a mood piece yet entirely in the pop format.  I wonder if a song with such feeling/wit, can ever truly be a hit. It's the album of the year, but even more important than those stupid ways of acknowledging an album's worth, this is a major work of art. 15 songs, not a weak link anywhere.   You can hang this album right next to "Mona Lisa."  - Tosh Berman