Fresh - "Fresh Out of Borstal" Vinyl, LP, Album, 1970 (RCA)

In my vinyl collection, I have many oddities, and without a doubt, Fresh's "Fresh Out of Borstal" is a weird album.   Fresh was a trio consisting of Kevin Francis, Robert Gorman, and Roger Chantler, and in appearance seem to come out of a harsh British prison 'Borstal.'  In actuality, Fresh is a concept put together by the great Simon Napier-Bell, who was the manager for Marc Bolan, The Yardbirds, Japan (the band), and Wham!  This is not really a rock n' roll album, but more of a musical that never got produced.  Not sure if this was meant to go beyond this album as a concept, but nevertheless, it is probably the first queer orientated pop/rock album released to the mass market.  

The songs were written by Ray Singer, who produced early Japan, Clive Sarstedt and the mastero himself, Napier-Bell.  Although the band is listed as a guitar/bass/drums trio, the fact there are a lot of instruments on the tracks, and at times, there is a Rolling Stones - Let It Bleed-era sound, mixed with the vibes of a musical such as "Hair."   The whole album is enjoyable, but the one classic cut is "And The Boys Lazed On The Verandah."  I remember hearing this song as a teenager and thinking only one word "Wow."   For whatever odd reason, KMET in Los Angeles would play this song time-to-time.   Still, there are great string arrangements that run through these songs, such as "You Made Me What I Am."  It's a Skinhead look, but the music is not in that vain whatsoever, or even close to the early aesthetics of Slade.  Quirky London West End theater (in theory) and something that would never be a great mass success.  But for those who love the British eccentricity in the pop music world, this album goes well with the great Lionel Bart (aesthetically speaking of course). 

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.