MATTHEW EDWARDS AND THE FUTURISTS "The First Song of the Revolution EP" (Static Caravan Recordings)

MATTHEW EDWARDS AND THE FUTURISTS "The First Song of the Revolution EP" (Static Caravan Recordings) Listening to Matthew Edwards's new EP "The First Song of the Revolution" reminds me of all the things I like about music. Music that is textured and performed with taste, precise musicianship, and a reflection of one's past as well as the present. The title song reminds me of The Lovin' Spoonful's "Summer in the City" in its intense sense of place and time. The tune is not the same, but the sense of urgency is very much of those two songs. There are traces of Jack Thackery and early Scott Walker, not due to the voice, but more of the narrative snapshot images in these four songs. Edwards is an artist who takes you to an aural sensuality pool, with the added presence of beautiful lyrics. I bring up the past a lot when I write about music, and it is because I feel I live many lives in songs, and I think Edwards has the same aesthetic or approach to music as well. He's fantastic and very much a treasured and shared artist.

Matthew Edwards and The Unfortunates - "The Birmingham Poets" Vinyl, LP, Album, 2019 (December Square)

Matthew Edwards has the knack of writing very literate and smart pop songs.  If I'm drawing a map of similar taste artists, it would include Vic Godard, Lloyd Cole, David Bowie (his later album "Hours" comes to mind), and Mickie Most-era Donovan, with a touch of Jacques Brel. Shamefully tuneful, but with a bite that stings.  "The Birmingham Poets" is an album short in length, but also I tend to play the record over again once I heard it for the first time.  Matthew and his band The Unfortunates do beautiful arrangements that are chamber pop like in one moment, but it also has a strong cinematic or visual sense as well. 

"California, Can You Wait?" is a song that drills into your sub-consciousness due to its catchy melody and chorus.  Yearning for and wanting something so special that is so close, but one can't touch it. Birmingham England is very much the location or the emotional home and Edwards' words reflect an observation that is both slightly nostalgic, but also biting.   There is a Nöel Coward sensibility in that he can convey the everyday of life as something special in its small moments. 

"Birmingham Poets" is an album that sticks to you, as Lou Reed/Mo Tucker once sang, like glue.  No need to remove the record, because, by desire, you will play it again and again. 

Morrissey - "Low in High School" (Apple Music )

Morrissey's "Low in High School" is a very odd album. For one, he's an incredible lyricist, but this album is not a work of a great lyric writer. He is a fantastic observer of moods and the character of a place he knows, such as Manchester. When he leaves that world, he's basically a tourist and commenting from a travel guide. I can't tell if the song "Israel" is a political commentary or a song he wrote for their tourist board. And if he is praising Israel as a country or culture, how can he, on the one hand, put down a soldier who is fighting in a war ("I Bury the Living"), and yet praising a country that has the largest war merchandise with respect to military power in that region? People join the military for various reasons, perhaps financial, social, or family practice. Morrissey doesn't go into the subject matter with much insight into the soldier's mind. 

His fascination with Tel-Aviv is basically a mystery to me. But then again, he was like that with Rome, but at the very least he mentions his love for Pasolini and Morricone's music - but what does he say about Tel-Aviv? How does he feel about the Gaza? If he was writing about a location as if it was in a journal that is one thing, but he's making a huge statement that's "Israel."

Musically and style wise "Low in High School" reminds me of a bit of Jacques Brel, but without the intellect or his life experience. The album is very 'produced' with no space or silence. It's like a TV commercial where one stops thinking, and you are just being preached upon, but in a manner that's annoying. Still, some musical delights come and go throughout the album. 

Which comes to mind his singing on this album is superb, but the great voice can't hide the mis-thinking and naivety of his political stance. If, and or if he is making a political position. He's not Woody Gutherie that's for sure. His attack on 'mainstream' media is basically a conformist blaming others - in fact, he blames others a lot. What's disappointing to me is that I admire Morrissey's work. When he's great, he's really great. The sad thing and the great irony is that he sort of became a Donald Trump. There is a bullying aspect of his recent work, that is unsettling. One time he was with his audience, but now I feel that he's making judgments on other's culture without understanding that specific society or grouping.

Unlike Trump, Morrissey eroticizes his passions. There is a sexual manner where the brains stops and the body takes over. And I presume his take on race, war, diet, is very fetish orientated in that he fetishizes his likes that are not really true in nature or everyday life. As an artist, I think this is perfectly OK. On the other hand, when there is so much suffering in the world, he could show more compassion for those who have to do what they do to exist. At one time I felt he had a feel for those not in power - but now, things change. Life does change. We will see what tomorrow brings and what his reactions will be with the world in crisis.

Barry Ryan - "Eloise" b/w "Love I Almost Found You" Vinyl, 7" Single, 1968 (MGM)

At the length of 5 minutes and 26 seconds, this is not your average 45 rpm single, but more of a statement of purpose.  There is the wall of sound, but the arrangement and direction by Johnny Arthey are similar to containing a typhoon in a recording studio.  "Eloise" is a song/recording that will not be forgotten once heard.  On one level it's about a loss of a girl named "Eloise," but the song is more about naked emotional feelings, and this is the landscape where excellent pop music is made.  

In 1967 there was a partnership made from the very beginning.  England's Paul and Barry Ryan were identical twin brothers, and both had the strong vocal talent of such artists like Tom Jones.  Paul became the songwriter of the duo, and eventually, he got burned out being on stage, touring, and made a new arrangement that he will be the songwriter, and Barry will be the solo singer.   Out of this partnership came "Eloise."  

Without a doubt one of the great 45 rpm single release from the 1960s.  This is a record that was going to be tremendous or fails miserably.   I recommend playing this at full volume and surrender to its big sound that is one huge sonic aural organism.   The b-side "Love, I Almost Found You" is almost as wonderful as the A-side. 

Vince Taylor and his Playboys - "Le Rock C'est Ca! Vinyl, LP, Compilation, 2015 (Rumble Records)

All serious students of David Bowie know that Vince Taylor had a role in Ziggy Stardust mythology. Vince was an American who moved to England at a young age, became a rock n' roller before the Fab Four hit the radio waves.  Eventually, he became a mega-star in France and had a series of hit songs/EPs.  He also went insane for a while, which at this point, David Bowie met him somewhere in London, and Vince went off about God, and therefore the long link from religion to rocking.  More than his music, Vince Taylor had a strong visual image that was extreme and highly sexual.  Watching old film clips of Vince and band on YouTube, is a combination of a Kenneth Anger film and a visual interpretation of the entrance of hell, through a rock n' roll performance.  Clad in black leather and heavy chains around his neck, Vince even outdid Elvis with his hips, which seems to be more made out of flexible rubber than bone. 

To be honest, his actual singing is just average, but the whole package is the real deal, the real art.  Vince Taylor and the Playboys are a combination of classic Gene Vincent and genius Eddie Cochran. The 18 songs on "Le Rock C'est Ca!" is a snapshot of how a French sensibility eroticizes the rock n' roll imagery.  Mostly a collection of French EP's released in the early 1960s, this is music that will go will with the photographs of Swiss photographer Karlheinz Weinberger, another European sensibility who understood the visual and erotic power of rock n' roll. Musically not as important as Gene Vincent, but visually and presence:  Essential rock n' roll.  

Gilbert & George - "The Thoughts of Gilbert & George" Vinyl, LP, Album, Spoken Word, Limited Edition (MoMA)

I'm very much of a veggie-meat & potatoes type of chap, and I think of Gilbert & George the same, with respect to their stance and art.  Ever since I was a teenager, I have followed this duo in all of their work, and sudden u-turns, and their ability to remain British to the core.   I also have a deep curiosity about how artists work together or collaborate on specific art pieces.  To this day, the more time I spend with Gilbert & George, the less I know about them.  They're a complete mystery to me.  

They have lived in East London for decades, and reportedly they eat at their local caff (cafe), which I think is part of their building or right next door. Legend has it that they purchased the local restaurant, and eat there every day.   They have a work ethic going, where they are in their building/studio every day, and consistently making art.  One can presume that they are a couple or lovers, but I'm not even sure if that's the case or not.  All I know is that I love them.

This is very much a spoken word album, with a song "Underneath The Arches"  The focus of the album and Gilbert & George's obsession is this British  1930's era Depression pop song.  It's a lovely tune.  They found the recording in a second-hand shop, and bingo, it becomes an essential performance piece by the duo.   It's a beautiful song about dreaming upward when everything is pretty much hell.  Gilbert & George generally deal with oppression due to politics, sexual mores, and culture. For fifty years their theme has been consistent, although their artwork has changed or they use different mediums, they are still a unique work of art.  I say that because they treat themselves as objects and whatever they do it becomes a work of art or an art object.  

"The Thoughts of Gilbert & George" is them talking about their aesthetic, but even that itself is an art piece.  That, and their focus on "Underneath The Arches" makes this album remarkable 

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!

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. 

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. 

Mick Karn - "Titles" CD, Album, Reissue, 1990/1982 (Caroline)

Bass playing in my listening experience is not always, but usually distinctive to a specific player.  Mick Karn, I can identify within a few seconds of his playing. For one, he plays a fretless bass, and the way he treats melodies is like containing water by cupping your hand. It will slowly leak out, but the essence of the taste of the cool water will stay with you.  Karn's playing works in the same fashion.   It throbs with sexuality, and it is almost like hearing someone crying.   Karn was a member of the band Japan.   His bass playing for that band was essential to their overall sound.  David Sylvian the lead singer and writer for Japan never really changed that much in his solo recordings, except maybe be more experimental in its overall sound.  Still, when I hear the Sylvian solo release, I think, where is Mick?    And when I listen to Karn's solo recordings, I think "where's David."  In truth, or whatever their problem was, they needed each other.  The original band should have never broken up, even though I do enjoy the solo recordings by both artists. 

"Titles" is the first solo Mick Karn album.   One would not expect that much because he's not known as a composer or songwriter, but still, the bass playing is the essence of everything he did.  The truth is "Titles" is a very good album.  Ambient in parts, and totally exotic sounding throughout the record.  It reminds me of David Bowie's "Low," in that Karn gives in to the instrumental side of the world.  The album features members of Japan (except David of course), but it's mostly Karn doing all the overdubs and it's great noise.  Spiritual in a pop sensibility way, the album is Karn stretching out his muscles and brain.  His death from Cancer was a terrible tragedy.  As I mention, the bass playing is very individual practice, and with him out of the picture, we lost a unique and brilliant musician. 

Swans Way - "Soul Train" b/w "Summertime" & "Gloomy Sunday" 12" 45rpm Vinyl, 1983 (Exit International Records)

It's a bit of mystery how I came upon this 12 single in 1983.  I don't believe it was a hit in the UK, nor in the States.  I was working at a record store that year, so I suspect that it came upon the turntable in a mysterious fashion.  "Soul Train" is your typical 1980's British white guy soul, but, I think a brilliant song/recording.  Swans Way (named after Marcel Proust) is a trio that consists of singer/guitarist Robert Shaw, Rick P. Jones on stand-up bass, and percussionist Maggie De Monde, and that is all I know of this band.  "Soul Train" is full of images of despair.  "I don't wanna walk in the rain," or "I tried and tried' mixed with  "I'm tired, I'm tired" and "I know I know" The strings match the rhythm of a train getting started, and it's going somewhere not nice.  "It's Midnight, it's midnight."  And "I'm almost there."  This is a song that is very reflective, and the mood is dark.  Suicide is on this young man's mind.  It's an excellent record.  It should have been a huge hit here in the States as well as in the rest of the world. 

The b-side is two live recordings of classic songs.  "Summertime" and "Gloomy  Sunday."  What's interesting is their instrumentation which is very minimal and allows Shaw's vocals plenty of room to roam, but not far away from the subject matter of the songs.   They added a horn section for "Summertime," and I presume that when they did play live, it was just the three of them. I think I like the minimal sound of Swans Way, because it really focuses on the song, and with this EP as an example, they have excellent taste.  They did release a full album but never heard it. Come back Swans Way! 

The Fortunes - "You've Got Your Troubles" b/w "Here It Comes Again" 45 rpm 7" vinyl single (London)

My dad, Wallace Berman, played music on his portable turntable in his studio, and The Fortunes' "You've Got Your Troubles" is one of the songs that he played over and over again.  When he played a record and loved it, that means it can be played 10 or 12 times in one sitting.  My job, as a child, was to make sure to pick up the needle at the end of the song and start it over again.  At the time, it was a song that seemed sad to me.  The melody always caught me in a very reflective state of mind. As a child and one who tends to play by himself, I often had time for quiet meditation, which was always backed by a record.  

The trumpet played in such a manner, like in this song, always seems like someone is crying.  The singer lost his love that day.  Nothing is good.  Here the singer wants sympathy, but he comes across another one in the dumps.  Misery loves company.  The brilliant part is the reframe where another voice comes in and sings over the vocal  of the one who is suffering, and comments "And so forgive me if I seem unkind/I ain't got no pity for you."  As a grown-up, I realize that this song is about self-pity, and is making a humorous statement of sorts.  

The beauty of this song, written by Greenaway and Cook, is that it is both a song of romantic despair as well as making fun of one who allows themselves to be in such a state, and not imagines anyone else feeling that similar type of romantic angst.  The duality, now as an adult, appeals to my sensibility.  As a child or teenager, the song always spoke to me as being in the bottom of a well, and just hearing my voice echoing among the walls.   "You've Got Your Troubles" is an amazing song and a superb recording by The Fortunes.   Not sure if it meant to be ironic, but the very name of the band seems to mock the song's sentiment as well. 

Billy Fury - "The World of Billy Fury" Vinyl, LP, Album, 1971 (Decca)

This once good-looking young man was the best to come out of the United Kingdom/Pre Beatles.  A Liverpool citizen who can rock like Elvis, but made more hits by singing perfect pop songs.  Billy Fury (incredible name) was the real deal.   A lot of British rock/pop singers before the Fab Four came on the scene, were manufactured by various managers.  Fury was part of that school, yet he also wrote his own songs as well.  I can never understand why Fury wasn't a star in the States, except perhaps the presence of Elvis kept others out of the U.S. market.   

Decca throughout the years has put out "The World Of..." series.  Mostly cheap or budget best hits type of albums, but all of them had a formula graphic design, and in actuality, quite nice.  Morrissey, of course, is a fan of these series of albums that came out during the 1960s and 1970s.  This is a very pleasing collection of Fury's major hits from the early 1960s.   Fury had a lot of drama, both in his life, due to a poor working heart, and the song choices.  "I'll Never Find Another You," "Nobody's Child," and "Like I've Never Been Gone," have a tragic presence that is heightened by Fury's vocal delivery.  Women must have wept at his shows. 

The standout track for me is "Nobody's Child."  A simple arrangement, almost like a movie cowboy song, yet the lyric is almost painful to hear.   An amazing song that I'm surprised no one in the modern pop world have done a cover yet - at least as far as I know.   There are better best of Billy albums out there (mostly on CD), but this one is an excellent introduction to the wonderful Billy Fury. 

Pete Shelley - "Homosapien" Vinyl, LP, Album, 1981 (Arista)

One cannot ever underestimate the greatness of The Buzzcocks.  For one, Pete Shelley is one of the great songwriters of the Punk/New Wave era.  What gives Shelley that extra edge is his interest in not only rock n' roll, but also contemporary classical music and electronics.  When The Buzzcocks went to sleep for whatever reason, Shelley reinvented himself as a solo act that's focused on his songwriting, but also electronic pop.  It was nice that Shelley could express himself with the two guitars, bass, drums of The Buzzcocks, but also into the world of computer technology (at the time of 1981) and the so-called "modern pop.  

"Homosapien" is a great album, but the title song is a classic.  A piece of music that flirts with the idea of homosexuality in a song format, and under Shelley's brilliant skill as a lyricist.  I have the album version, but I also have the numerous remixes of this song, and it never fails in its dynamic getting out of the closet approach.  

The technique of Shelley both in The Buzzcocks and his solo material is that he often builds tension by just repeating the phrase or chorus till the breaking point.  There is also a circular motif in his work where it starts off but meets again in the end.  The listener feels like that they are surrounded by the song, and basically, you are trapped or motivated to go to the circle.   Besides Philip Glass, I can't think of another composer or songwriter who has this approach to their songwriting.  Songs like "Qu'est-Ce Que C'est Que Ca," "Guess I Must Have Been In Love With Myself," and " Don't Know What It Is" makes one feel that they are being pulled by a giant magnet to the song, and the lyrics are often mantras served as a lyric.  The songs are of heartbreak and love, but there is also a strong eastern philosophy or religious aspect as well. 

Pete Shelley is a very unique writer, and it bugs me that at least in the media, he is sort of this classic punk rock guy, but the fact is, he's much more than that.   He has a genius sense of having the perfect melody touch, as well as an emotional punch.   The Buzzcocks/Shelley rocks yes, but they also give the listener a feeling of bliss that for me, borders on meditation.  The Punk Era, both in the United States and in England, has produced a lot of great songwriters, but Shelley I feel should be on the top of the pile.  "Homosapien" is the essential listening experience. 

Dave Dee, Dozy, Beaky, Mick & Tich - "Greatest Hits" Vinyl, LP, Compilation, 1967 (Fontana)

I could be wrong, but I suspect that Dave Dee, Dozy, Beaky, Mick & Tich (DDDBM&T) never actually had a hit in the United States.  For one, who can remember their full name?  Two, they made brilliant ultra-pop records.  So pop that it borders on the eccentric side of that category.  There are two reasons why I'm interested in DDDBM&T.  One, I first heard "Bend It" in conjunction with the great art duo Gilbert & George, where they did a dance to this recording.  I loved the song immediately.  And two, all their hit songs were written by Howard Blaikley, who were actually two songwriters, and wrote tunes for my beloved The Honeycombs. 

I don't think there is another band like DDDBM&T.  Their sound was unique in that it had traces of exotica but done in a hyper-British production that borders on over-production.  "Bend It" is just as powerful as The Who's "My Generation."  It's a rave-up type of tune, with the melody starting off slow, and then it gets faster and faster. Based on a Greek theme motif, it even has a bouzouki on the recording that gives it that cosmopolitan air.  DDDBM&T. had no fear of sounding corny.  In fact, no fear whatsoever.   

This "Greatest Hits" collection is made for American listeners, and it only has 10 songs on the album.  There are more hits and even intriguing b-sides in the U.K., but this is obviously a contractual release of some sort. I'm not sure if there was another official release in America of their music.  In a nutshell, there are better collections out there in the European countries and even (of course) in Japan. For the hardcore fan who must have it all, I direct you there.  Still, this is a delightful album for what it is.  Great tunes here like "Bend It," "You Make It Move," and my fave "Hands Off."   I now regret that I didn't purchase the Japanese CD releases that came out a few years ago.  What I have besides this album is stuff that I downloaded from various websites over the years. 

Buzzcocks (with Howard Devoto) "Spiral Scratch" Vinyl, 7" EP 45rpm Single, 1979 (New Hormones)

I first purchased this 7" EP at Bomp Records, and I believed in 1976.   It may have been the same shopping trip where I bought the Sneakers EP as well as the Devo single "Jacko Homo/"Mongoloid." History will tell that this was a great shopping day for me.   When I went to the record store, I don't think I have heard of the Buzzcocks.  Maybe in passing in a Brtish publication.  But I was struck by their image on the front of the sleeve, as well as reading the song titles on the back.  "Boredom," "Time's Up," "Breakdown," and "Friends of Mine."  At that time (and still) I'm attracted to the titles of songs.  I was reading a lot of poetry at the time, so the lyrics and even its title had meant a great deal to me.    The Punk Era, including what was happening in New York City as well as within the U.K., was a very literate time for me.  Not only in reading, but myself trying to write lyrics as well as getting into the songwriting and craft of Cole Porter and Noël Coward.  Which sounds odd, but I put Howard Devoto and Richard Hell into the same framework as these classic lyricists. 

This 7" is a perfect moment of its time, but even now, listening to it this morning, it's fresh air being pumped into a stale environment or room.  The sound of the instruments seemed simple, but almost bordering on an avant-garde level.  Minimalists who rock!  Howard Devoto's lyrics strike me as being very literary, profound, and smart.  This wasn't angry music against a system, but a reflection of what was happening around them.  Aggressive yes, but with wit and intelligence.  The Pete Shelley/Howard Devoto team couldn't possibly go wrong.  But then Devoto left the band.  For sure, I thought that would be the end of the Buzzcocks.  Boy, was I ever wrong! 

Dirk Bogarde - "Lyrics for Lovers" Vinyl, LP, Album (Decca)

I'm such a Dirk Bogarde fan that I have this album on CD, and the original vinyl mono disc as well.   I remember going to The Last Bookstore's vinyl department, and finding this in the "B" section.  It was a great moment because I have been looking for this specific album on vinyl for years. The right price and of course the right Dirk Bogarde album.  Recorded and released in 1960, this was made between heartthrob teen idol Dirk and dark, decadent Dirk.  One of the great British actors - there is not one bad film with him in it.  That, I know is saying a lot concerning one's filmography - and one I'm sure Dirk had a lot of misgivings about their quality.  Overall he can turn something mediocre into a gem.   And his later films with Visconti and Losey are, of course, complete masterpieces.  Now, this album is... not a masterpiece.  More of an afterthought on Bogarde's career.   I'm imagining that the powers to be insisted on him doing this album of classic pop songs.  He doesn't sing, which is a disappoint, but what he does do is recite the lyrics in a very cinematic manner. 

"Smoke Gets In Your Eyes" starts off Dirk lighting a match and off he goes.  Low volume orchestration backs the recital on all songs.  Dirk does the lyrics in a very hammy conversational tone as if he is talking to you the listener.  For me, it is just a remarkable document of a time when stars had to reach beyond their abilities.  Still, this is very much in all, a Dirk Bogarde performance.  Which is a very good thing indeed. 

Brian Eno - "The Ship" vinyl, LP, Album (Warp Records)

It seems I have spent my adult life with Brian Eno.  I have been buying albums from this artist over the years - some are masterpieces, some are OK, some are not-so-OK, and some that leave me just scratching my head.   In a nutshell, one of my favorite noisemakers.   Eno is not a genius, but he's smart, and his approach to throwing in the musical avant-garde ideas into the rock n' roll mix is brilliant.  Like any artist that has decades of work behind them, they falter here and there.  In my opinion, his recent works have regained his edge, which I thought he lost.  But alas, Eno is back!

"The Ship" is an exquisite almost ambient piece of music with vocals altered by electronics.  It's murky with the sound of a ship going down in the ocean.  It reminds me of Gavin Bryars' great piece of music "The Sinking of the Titanic" which in theory is relative to this work.  Eno was the first to record the Bryars piece for his Obscure record label.  What's interesting is that Eno mostly has made music for institutions, airports - but places that don't have a strong identity, and are neutral landscapes.  This album makes me think of location or place that is very specific in mind.  It's a ship that is sinking or lost.  You can't find this on a map, but one has a picture of it in their mind.   It's a lonely and sad album.   It ends up with some sort of light by his version of Lou Reed's (through his band The Velvet Underground) "I'm Set Free."  

The other key ingredient on the album is the use of strings.  I don't recall Eno ever using a string section, except for the b-side of his album "Discreet Music."   I would like to hear more recordings from him using orchestration. I think it's an area that he can explore more depth and sound textures.   On vinyl, it's a double album, and the essence of the work needs to be listened to from the beginning to the end.  There is a narrative that is in place, but not a story.  Just a mood that you need to experience in a format that doesn't jump around.  The emotional punch of the Lou Reed song is not strong if you don't play the other part of the recording first.  It is very much a composition.    Great.  

Traffic - "Heaven Is In Your Mind" Vinyl, Reissue, Mono (Sundered Music)

one of my all-time favorite albums.  I first bought it I think in 1967, or early 1968. "Heaven Is In Your Head" is confusing, due that there is another version of this album that came out in the UK, and I think even in the U.S. there may have been at least two versions of this album.  Nevertheless,  and over many years, I now have this specific version.  It's a re-issue and in mono. 

Steve Winwood and friends (sometimes Dave Mason, who is on and off this album) made the perfect psychedelic pop with touches of European flavor.   The songwriting on the album is superb and incredibly textured.   Jim Capaldi (co-writer) and Chris Wood were magnificent additional visionaries for this first release.   Like all great things, the band soured for me by their second album.  They did nothing wrong, but compared to the first album, I felt they lost their spark or originality.  Perhaps they were in the right place and time.  A great band that could have been greater, but "Heaven Is In Your Mind" is a remarkable aural/sonic work.   It's hard to believe that Winwood was still a teenager when he made this recording.