Twinkle - "Golden Lights" Vinyl, LP, Compilation, 1996, UK (RPM Records)

Twinkle is the ultimate 1960s British teenager, who is also a songwriter and pop singer.  Born wealthy, and had a sister who wrote for the British music fan magazines of that time, knew and went out with a lot of rock n' roll people.  Never released an album, but a series of 45 rpm singles, Twinkle's music is remarkable.  An excellent lyricist, one of her great songs is "Golden Lights," which is a fantastic groupie-like view of a loved one whose name is in the neon lights of a theater. It's visual power, and beautiful melody is pop-divine. 

"Terry" is about a boy who dies on a motorcycle.  It is just as great as any The Shangri-Las' recording, and the difference is that it's quiet in a British manner compared to the Shadow Morton world of East Coast cinematic sounds. There is even a version of Serge Gainsbourg/France Gall's "A Lonely Singing Doll."  This 17-song compilation doesn't have a weak link. 

If a comparison is to be made, I think of Gillian Hills, who also wrote her songs, as well as being an iconic figure both in the UK as well as in France.  A remarkable collection of pop music.  

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. 

Sandie Shaw - "Sandie Shaw" Vinyl, LP, Album, 1965 (Reprise)

The greatest British Yé-Yè singer ever.   A pop vocalist who had/has a look that shook the United Kingdom.  Wearing no shoes on stage, or in her publicity photos, she is no hippie, but a Juliette Gréco for the teenage set, and of course, in a British sense.   Her main creative partner is Chris Andrews, a man I know little about, except that he made recordings under his name, which is pretty fantastic.  Yet, his work with Sandie Shaw is remarkable.  His "I'll Stop at Nothing," "Talk About Love," "Girl Don't Come" (great song title), and others made Sandie a classic artist, along with her distinctive vocal style.   And Robert Wyatt recorded a version of his "Yesterday Man."

Back to Sandie Shaw, the pure pop here is not sugar coated, but it is full of emotion.  She's classic 'girl-pop' with a vengeance.  "Girl Don't Come" has menace.   One of my favorite pop records to come out of the British Invasion.   Now, reading the title, it has sexual overtures, but in fact is about a woman who won't show up. Still, unusual phrase.  And perhaps it's a duality, but not sure how songwriters thought out their song titles in the 1960s.  Still, this is Sandie Shaw's first American release, and it's classic British girl pop.   Sassy, sexual, tender, and for those who love The Pretenders, a must-have.