Kraftwerk - "Trans-Europe Express" Vinyl, LP, Album, Reissue, 1980/1977 (Capital)

If someone approached me and said: "Kraftwerk is the most important band in the world," I would not dispute that.  In fact, I may agree with that mysterious someone.   I discovered Kraftwerk when "Autobahn" came out, but it was "Trans-Europe Express" that changed everything.   For one, they were the first band to me that didn't come from America or England.  They were hardcore German.  They looked German, sounded German, and the traces I picked up were European classical music, with a touch of Musique Concrete.  No blues, or Beach Boys which I think was an influence on their previous album.

I remember showing this album cover to my German (Hamburg born) grandmother, and she said: "ah, they look like young men from my youth."    "Trans-Europe Express" was my first gateway to a European aesthetic.  I admired European films, but this was (sort of) my contemporary entrance to the European aesthetic.  When I went to Europe for a huge traveling trip, it was Kraftwerk's music on this album that served as a soundtrack to my adventures in Italy, Germany, France and the UK.  At times when I was in Munich, I wasn't sure if what I was seeing was truly my experience, or I was re-living the imagery from "Trans-Europe Express."

There are many brilliant artists in the pop music world, but Kraftwerk seemed to me another or unique version of genius at play.   The icy perfection of their image/music (the same thing for me) as well as the beautiful melodies, made a huge dent in how I saw the world.   I love other Kraftwerk albums, especially "Radio-Activity," but "Trans-Europe Express" is my sonic version of someone else's "On The Road," or another romantic literary title.   Once bitten, you've changed.  Kraftwerk was the bite that keeps on giving.

Various - "Satan's Sermon and Other Electronic Fantasies" Vinyl, LP, Album, 1980 (Composers Recording Inc)

I just did a Tosh Talks episode with my friend and translator Paul Knobloch, and he brought this album over to the house as a gift.  He knows that I'm crazy about electronic music from the 1950s to 1970s.    This is an album with music by four composers, who to this day, are unknown to me.  George Todd, Saria Semegen, Thomas Wells, and Jan Greenwald.  Looking up their names on Discogs website I don't find that many other recordings by these composers, which is a shame because the album is a delight. 

"Satan's Sermon" is a work by Todd that is mostly done on a synclavier, invented in 1977-1978.  A lot of bands in the 80s used the synclavier, especially in the recordings produced by Trevor Horn.  Here, its use is totally expansive and driven by an Able 40 computer.  It's digital meets analog.  The music is dark since it is called "Satan's Sermon."  

My favorite work on this compilation is Greenwald's "Duration 2" which was composed on the Nova 1200 Data General computer attached to Buchia 500 digital-to-analog synthesizer.  It's a very slow piece that's meditative but has textures that reflect sinister or even cinematic touches of an Alfred Hitchcock piece of work.  

The Cramps - "Songs The Lord Taught Us " Vinyl, LP, Album, 2016/1980 (Drastic Plastic Records)

The first full-length Cramps album.  Originally released in 1980.  Alex Chilton is the producer.  If I was at these recordings in the studio, I would sit by the exit just in case something weird breaks out.  More likely nothing odd happened during the recording of "Songs The Lord Taught Us" but sound wise it sounds like mayhem and within its vinyl grooves there are these people trapped within those grooves and they're trying to break free.  In other words, this is very much an intense listening experience.   It is also the perfect rock n' roll album.

The genius aspect of the early version of The Cramps is that they didn't have a bass player, neither an electric or stand-up bass.   It's two electric guitars, a voice, and drums without cymbals.  On paper, it sounds primitive, and that is an often descriptive term for their sound, but for me, that is like saying Harry Partch's music is primitive.  It's actually so simple that it's complex within the wave of sounds between the two guitarists with the addition of the big beat of the drums. 

Alex Chilton doesn't smooth out the sound but allows it to go crazy within the studio landscape.  It's Sun Records, but leave out the sanity button on the mixing/recording table.  It's both a tribute to the Sun sound and also acknowledging that it is using that 'sound' as the foundation to go onward.  The beauty of The Cramps is not their originality (which they have plenty of those ingredients) but also the fact that they are curators of a sound that they know well, and what they convey to the listener is the real deal. 

Chilton is the perfect producer for The Cramps.   The band knows a fellow traveler by instinct and it's interesting that afterward they never used an outside producer for future recordings.  In that sense, The Cramps became an isolated group that kept their world within its reach, and never comprise its sound or image to another corporation or another artist - unless it's a tribute to their sensibility of rock n' roll history.    In the nutshell, the perfect band making the perfect album, with the perfect producer of that time.  The Cramps with the help and assistance of Alex Chilton.   Perfection in practice. 

Ultravox - "Three Into One" Vinyl, LP, Compilation, 1980 (Antilles)

This is how I see the world.  The center of the world is Roxy Music.   From that world (in theory) came Magazine.   And then there's another layer, and that's Ultravox when John Foxx was their chief lyricist and singer.  Keep in mind that these bands didn't imitate Bryan Ferry and company, but soundwise they do share a certain vibe.   Magazine to me is magnificent, Roxy is beyond magnificent, and Ultravox is the little brother that tries very hard to be magnificent.   Foxx and company do have that JG Ballard vibe as well, but I think there are other bands out there that were better than Ultravox in that respect.  Still, a world with Ultravox is not a bad thing at all. In fact, I enjoy the first three Ultravox albums a lot.   "Three Into One" is a compilation of the first three Ultravox albums, and issued after Foxx left the band.   What was Ultravox then, is different with Midge Ure in the lineup. 

I think the critical elements for Ultravox in general (both versions of the band) is Billy Currie's violin playing mixed in with his keyboard talents.  He has a very distinctive sound, and at times he can sound like Dave Formula, Magazine's keyboard player) who ironically enough worked with Steve Strange's Visage project.  In actuality, it's one big family.  The other is John Foxx, whose presence I presume is one from the Punk aesthetic but has a deep interest in science fiction literature, and like Bowie adopting literary works to his music, Foxx did the same.  "My Sex," "The Man  Who Dies Everyday," and "Hiroshima Mon Amour" have traces of a Ballard landscape, and it's interesting that Foxx never saw the film "Hiroshima Mon Amour" but took the title for his own purposes. 

Ultravox is conservative compared to Magazine.  Not politically speaking of course, but in the sense that their music is rarely experimental and is straightforward rock, but with added touches of electronica that gives their music so much flavor.  They can also come up with gorgeous melodies such as "My Sex" and "Hiroshima Mon Amour."   In a nutshell, Ultravox is a good band, that made good albums, but nothing exceptional about them.  Perfectly workable and enjoyable in an equal manner.  They also worked with the greats of their time:  Eno, Steve Lillywhite, and Connie Plank.  A good singles band.  Nothing wrong with that!

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. 

The Associates - "The Affectionate Punch" Vinyl, LP, Album, 1980 (Fiction Records)

"The Affectionate Punch" is the first Associates' album, and it's a classic introduction to the amazing talents of Alan Rankine and the amazing vocals by Billy MacKenzie.  At this stage of their career, MacKenzie's singing style reminds one of Bowie's classic croon, with Russell Mael's ability to define and pronounce words in a speedy manner.  Which sounds like MacKenzie is imitating them, but in fact, it's an influence and one that MacKenzie uses for his own unique purposes.  The Associates will remind you of other artists, but in truth, they are very original.  Rankine pretty much plays all instruments on this album, except for drums. It's very electric guitar (with effects) and bass with drums.  Then on the top, you have the Billy voice which of course, is a wonder.  

Lyrically some of the songs are vague and fragmented, in that one would think another influence on this album would be Iggy Pop's "The Idiot," as well as Bowie's "Low."  There is a mechanical feel for the beat, as one works in a factory environment.  It's hard, but then you have the soulful voice of MacKenzie relating to an emotional response that is taking place outside of the song.  Morrissey as a young man must have had this album.  Lyrically there are Morrissey touches, but of course, this album was recorded in 1980.  Not that Morrissey is imitating MacKenzie, but I feel he was an influence on his outlook, coolness, and intelligence that was felt much later in The Smiths. 

Rankine and MacKenzie made two other albums that are essential listening experience, especially on the post-punk landscape.  As this is their first album, the songs are well-defined, but happily, their experimental stage is still to come.   Meanwhile marvel at the beautiful melodies of "Paper House," and "Even Dogs In The Wild" (an animal that MacKenzie was devoted to).  These are guys locked in their own world and making brilliant music.  

David Bowie - "Alabama Song"/"Space Oddity" 45 rpm Vinyl, 1980 (RCA)

There is no better song than "Alabama Song."   I only know four versions:  Lotte Lenya, The Doors, David Johansen (N.Y. Dolls) and of course, David Bowie.  All versions of this song are great.  Bertolt Brecht and Kurt Weil wrote it.  And thinking about it now, this song I knew since I was a baby.  My family household played the "Lotte Lenya Singing Weil" album, and my German grandmother had the album as well.  So no escaping from "Alabama Song."  Nor do I want to flee from this song.   Bowie does a great version, which was recorded during his "Lodger" period, and I presume with the same band that is on the album.    A commentary on his times in Berlin, when he lived there with Iggy Pop during the making of "The Idiot" and "Lust for Life."   There is a sense that he's singing this song as if it was something from his past. Even though it was a few years in the past, it had the bite of discovery.  I think for him, and for me as a listener.   It's a beautiful melody, and all versions are sung if the melody is crashing into a wall.   What comes afterward is a new beginning.  A new something. 

"Space Oddity, " this version recorded in 1980 is the best.  Sparse, and very much reminds me of John Lennon's "Plastic Ono Band" recording.  The minimal approach is piano, loud drums, and maybe a touch of an electric guitar, with the acoustic.  It has always been a beautiful song, and by far, this version is the best.    Not sure if it is easy to track down - or if it is in a best of Bowie album somewhere in the world.  But do get it.