Sparks - "Gratuitous Sax & Senseless Violins" Yellow Vinyl, Remastered, Reissued, 2xCD, 2019/1994 (BMG)

It's no secret that I'm a Sparks' fanatic. My love for this crazed duo is as immense as the oceans and deep into the distant stars. For me, there is no such thing as a bad Sparks' album, but "Gratuitous Sax & Senseless Violins" is one of my faves among their recorded masterpieces. There is not another haunting song as "Let's Go Surfing," or "When Do I Sing My Way." Sparks made masterpieces in the 1970s and 1980s but disappeared amid the later 80s, and returned to magnificence with the above album. 

Hardcore electro-pop, this is music made by two men, and it's a tight album with no wasted space. It's a specific and focused set of songs that focuses on some aspects of pop culture, as seen through the Mael brothers. "Gone with the Wind," Sinatra's and Sid's "My Way," Charlie Parker, The BBC, Liberace, and Hong Kong filmmaker (who is on the album as well) Tsui Hark all share space in this work. They bounce off each other, and in some sense, there is communication or sharing between these iconic figures/institutions. 

CD-1 is a compilation of remixes from "Gratuitous Sax & Senseless Violins." What stands out is Bernard Butler's mix of ("When I Kiss You) I Hear Charlie Parker." He adds guitar textures that give the song a different feel than the standard version. Also of great interest is their version of "Little Drummer Boy," and a great unknown Sparks song, "She's An Anchorman." What makes this reissue a must for the fan is CD-2, which is unreleased (until now) great unknown Sparks songs, which I presume was recorded around the same time as "Gratuitous Sax." 17 songs here and not one is a dud. Also noted are the songs sung by Christi Haydon. She was their live drummer in the 1990s, and it seems at one point and time, was set-up to sing the songs of Sparks. Similar to Serge Gainsbourg working with Jane Birkin/Brigitte Bardot or Lee Hazelwood's work with Nancy Sinatra. All great, especially "Katharine Hepburn," which is an unknown Sparks masterpiece song and her excellent version of The Who's (John Entwistle) "Boris the Spider." Superb packaging and music. A must for Sparks' fans, but also proof of their greatness. 

Philip Corner - "Satie Slowly" CD, Album, 2014 (Unseen Worlds)

Erik Satie is very much in my DNA.  I was raised with his music due that my parents played the Aldo Ciccolini recordings of Satie's music, especially volume one, that was released by Angel Records, with the Picasso portrait of Satie on its cover.   There are many other versions by different pianists making Satie's piano music, but I was devoted to only the Ciccolini recordings.  Due that they are the best?  Or just out of brand loyalty?  For whatever reason, I could never get fully behind other's interpretations of his piano music, I think at the time 'why bother?'  Recently I got Philip Corner's collection of Satie piano music called "Satie Slowly," and it enchanted me from the very first note to the last in this double CD set.

"Satie Slowly" can mean Corner is playing the notes and melody in a steady slow pace, or it can expect to enjoy the music on one's own natural slow pace.  Nevertheless, there is something organic about Corner's approach to Satie's music, that is never fussy, and the melodies ring out slowly like peeling a juicy orange and making sure not to have any moisture from the fruit land on your white pants.  Each cord he plays on the piano has a slight echo that rings to the next note, and it's a subtlety that is small in comparison of playing something significant, but the spacing allows the essence and beauty to come out of its music. 

A mixture of nightclub cabaret and reflection, this is where Satie lives, and Corner plays his music in the sense of grace, humor, and the essence of everyday life coming and going.   It makes sense that Corner is also a visual artist as well as a member of Fluxus, an art movement that is hysterical and serious at the same time.   These piano recordings, at this moment, are my favorite Satie performances.  I want to thank Alejandro Cohen of The Dublab Creative Cultivation for turning me on to this double-CD set.  It's marvelous. 

Joe Meek - "The Joe Meek Story/The Pye Years" 2 x CD, Compilation, 1991 (Sequel)

Beside The Honeycombs CD that I bought in Japan, this compilation of Joe Meek's 1960s recordings was my introduction to the strange sounds and therefore the odd world of Joe Meek.  I remember buying the double-CD compilation out of curiosity more than anything else.  I was on one of my trips to Japan, and that at the time, was like going to another world.  Something like Meek made perfect sense at the time.   Knowing nothing of the man until I purchased this collection and read it's detailed liner notes, which was hard for me to re-fold in its packaging, was a life-changer.  Listening to the music on this package had a profound effect on me.  One, the sound was so eccentric, yet it's clearly pop or rock music, but with a twisted darkness as an aftertaste.  

The opening cut, Blue Rondo's "Little Baby" was a garage rock version of Roy Orbison, with an incredible echo like vocal that sounded like it came from either heaven or hell.  The other artist that made an impression on me is Glenda Collins, who had the perfect British girl pitch, but a sassy attitude. "It's Hard To Believe It" and "Something I Got To Tell You" are upfront, straight to the face, and a perfect match for Meek's experimentation and sense of romantic angst.  I have read that Meek at one time wanted to marry Glenda, but I suspect that would have been a tragic mistake.  "The Pye Years" is an excellent introduction to the Meek sound, especially with respect to the nod toward the British Invasion at the time.  Here you get instrumentals, but a strong leaning toward a beat rock sound.   His famous songs/works are not on this collection, but it's a very strong compilation.  Get and find it.