Ennio Morricone - "Danger: Diabolik" CD, Album, OST, Italy, 2001 (Sycodelic)

Not exactly an obscure soundtrack by Ennio Morricone, but a very difficult one to obtain.  Only available as a bootleg, and always on a CD.   Seeing "Danger: Diabolik" is not that difficult in the world of the format DVD.  Still, Diabolik was a master thief who operated outside the law to do justice.  There was or is something extremely fetish about his lifestyle as well as his love life. He was devoted to his girlfriend/wife, with a sexual passion that is almost heated as his body suits, just exposing his eyes.   Influenced by Fantomas, but very much part of the James Bond world, Diabolik was also an Italian comic book.  I do have some copies that were translated into English.  A guilty pleasure of sorts, but on the other hand, Morricone's score/incidental music for the film is fun. 

If there is a hit song off this, it would be "Deep Down" sung by Christy, who I suspect was sort of an Italian Yé-Yé singer, who worked with Morricone as well as with Piero Piccioni.  The story behind the soundtrack is that the master tapes were destroyed from a warehouse fire, and what we have here is the actual music and dialogue from the film itself.  So, the quality is not that hot, and there is a lot of dialogue added here as well.  Personally, I just want the music, but I can understand that there are people out there who insist on studying the Diabolik film. 

Morricone is a composer of many styles.  "Danger: Diabolik" is the easy listening side of Morricone, a jazz tinge existence with great sound effects.   For the record, it's not my favorite Morricone score, but for those who prefer the Bachelor Pad music era, it is a must and a high point in that world. 

Sparks - "The Seduction of Ingmar Bergman" Box Set, LP, Album, 4 x Vinyl, CD, Limited Edition, 2009 (Lil' Beethoven Records ‎)

It's always been my opinion that Sparks music or roots don't necessarily go back to rock but to theater music.   Ron Mael and Russell Mael are in the same school as the Gershwin brothers, Cole Porter, Rodgers & Hart and Stephen Sondheim.  Although their medium can be considered, and more likely pop or rock, but I have always thought of them as the American brothers of Bertolt Brecht and Kurt Weil.  "The Seduction of Ingmar Bergman" is very much in line with something similar to Brecht/Weil's "Three-Penny Opera." 

The narration of this radio and stage musical (and hopefully film) is about Bergman being trapped in Hollywood and dealing with the nightmare of working in a film factory of not his choice or temperament.  Isolated from his world, he plots his escape, but can one flee from a living nightmare? This is the first theater project that came to fruition by the Mael brothers, and it's an essential Sparks' recording.   The album is truly a soundtrack to the entire production, including some dialogue.   Still, the music is excellent, and of great wit and beauty.   The melodies are perfectly beautiful, but it also serves as a critique or commentary on the nature of an artist dealing with an industry that seems supportive, but in actuality, it's restricting the filmmaker's vision.  

Ron Mael who is usually silent sings lead as the Limo Driver, but the rest is sung by Russell, as well as actors singing various roles, such as Jonas Malmsjö as Bergman, and a beautiful vocal from Elin Klinga as the ghost of Greta Garbo singing the heart-stopping "Garbo Sings."  Superb brilliance. 

Miles Davis - "Miles Davis and the Modern Jazz Giants" CD, Album, 1989/1959 (Prestige)

One of my favorite all-time recordings is "The Man I Love," the Gershwin song here performed by Miles Davis, Kenny Clarke, Percy Heath, Milt Jackson, and the incredible Thelonious Monk.  There are two versions of it on the CD release from 1989.  Both are sonic perfection.  The solos are fascinating.  Miles' solo is slow and soulful, and Jackson's vibes bring it up to a faster pace, but Monk's solo is abstract painting as music.  His piano sketches the beautiful melody like he's tracing something on paper on the sand on a windy day.  I believe its take two where Monk even goes slower and plays with the melody as if having liquid slowly disappear between the fingers.   I get the impression that Miles probably wanted to throw his trumpet at Monk for going so slow, and playing with the melody as if a cat is is batting a toy mouse.   The whole album is terrific, but to have the two versions of "The Man I Love" opening and closing this album is just perfection being practiced by these giants of music (jazz). 

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. 

Les Rita Mitsouko - "The No Comprendo" CD, Album, France, 1987 (Virgin)

In 1987, I was visiting my friend Erik Blum in his studio in Los Angeles, and he played this album by Les Rita Mitsouko, and I was immediately transformed into a  hardcore fan.  At the time, or that first listening experience, I thought to myself T Rex meets Sparks, but singing in French.   It's a very confining album made by a couple, who were totally self-contained.  And with help and assistance from Tony Visconti.   Somehow a friend of mine made me a VHS tape of their videos off this album, and that was another little explosion that went off in my body. I must have been the only person in the United States that had a copy of all their videos at the time.  I have never seen such a visually appealing and seductive band like Les Rita Mitsouko.  In two words: Catherine Ringer.

Ringer is what one would call "the real deal."  She's the gift that keeps on giving.  I want to say she resembles or perhaps even influenced by Edith Piaf, but that's wrong.  I think she is even better than Piaf!  This woman can walk across a room and cause an emotional riot within me.  For me, she represents everything that is good regarding a musician and the perfect set of songs.  "No Comprendo" is perfection as practiced by a skilled duo (with her husband the late and great Frank Chichin) with the right attitude, and performance (of what I have seen on numerous live videos) that is perfectly made out of our elements.  She's too good to walk among us, humans!

"No Comprendo" is a combination of chanson and synth-pop, with rock overtures.  Catherine and Frank played most of the instruments, with the help of Visconti, and Ringer's vocals are exceptionally heartbreaking, fun, and of course, erotic.  Ringer, who worked with Sparks and told Serge Gainsbourg to fuck off is clearly a hero of mine.   Why Ringer is not the biggest star in the English speaking world is beyond my brain.   In three words:  I love her. 

Gillian Hills "Vue Intégrale (Twistin' The Rock Vol. 9) 2 x CD, Compilation, 2002 (Barclay)

Gillian Hills is a British actress who lived in France to become a singer with a fascinating Father and Mother.   Father is Denis Hills, an adventurer, writer, and traveler, who wrote about Idi Amin in Uganda, who was sentenced to death for espionage in that country.  The intervention of the Queen allowed him to safety and back to the UK.  Her mother is Dunia Leśmianowna, the daughter of Polish Poet Bolesław Lésmian.  Gillian, at 14, was discovered by Roger Vadim, who put her in the film "Les liaisons dangereuses."  At 15, she starred in the British film "Beat Girl," with the first soundtrack by the great John Barry.  It was at this time she went back to France and made a series of recordings with artist Henri Salvador, and was one of the few Yé Yé singers to write her material.   After recording the French sides,  she eventually came back to London to be in the films "Blow Up" by Michelangelo Antonioni and Stanley Kubrick's "A Clockwork Orange."  After that, she moved to New York to focus on a career as a book and magazine illustrator.  Whew!



"Vue "Intégrale" is a collection of her recordings she did in France for the label Barclay, and it's pretty remarkable in its sophistication in the Yé-Yé pop song market.   The fact that she co-wrote or wrote these songs are pretty amazing in itself.  Oddly enough, she is unknown, except for those who are obsessed with French pop from the 1960s, and of course her film appearances in such cult classics.  I think it's more than Hill being in the right place and time; she truly had the stars above her lead her to interesting aspects of the French and British entertainment world.   Beautiful as Bardot, Hills expressed an urgency and restlessness in her approach to the recording arts as well as film.  A remarkable talent at an exceptional time in cultural history.  It's time to rediscover her work.

Jack Bruce - Songs for a Tailor" CD, Album, Reissue, 2003/1969 (Polydor)

Jack Bruce was my guy in Cream.  I never was a fan of Eric Clapton, even though as a teenager I fell for his "importance" due to my friends at the time.   Except for "Badge" and a few others, the Jack-Cream songs were it.  And as much as possible I tried to stay as far away from the Cream live recordings.  I hated them in 1968, and I still dislike them.  But Jack Bruce/Cream/Peter Brown part of Cream, almost perfect.   In 1969, I did buy the Jack Bruce song because I knew it had to be good.  And good it is, if not fantastic.  

Since Bruce is a bass player, the bass is way up high or part of the overall mix on this album, and I love that.  His playing embraces and holds the song as a frame, with the melody and the other stuff inside the frame.  An underrated songwriter, and the fact that he had an open mind with respect to different types of music - such as jazz and the experimental side of pop music making or unique collaborations.  Clapton never went there, and Ginger Baker, God bless him, also was an adventurer at heart.  Another artist that comes to mind is Mick Karn, who was the bass player for the band Japan. There is that jazzy, strong bass holding the material together.  Karn's first solo album is emotionally direct as well as his bass playing.  Perhaps a strange connection, but listening to the Bruce album, it brings memories of Karn as well. 

"Songs for a Tailor" is for me the next step after the studio side of Cream's "Wheels of Fire."  "Rope Ladder to the Moon" could have been part of the "Wheels of Fire" album.  It's cello/bass, and dynamic acoustic guitar playing (by Bruce) is dreamy but rhythmic.  One has to give notice to the poetic lyrics by Peter Brown, and it's interesting that Bruce worked with such a literary bent, then say "I love you do you love me" rhyme/sentiment.   Still, there is an emotional pull in their songs.  Brown's lyrics are baroque and visual, and Bruce treats them not only as a personal statement but also 'performs' these songs though his singing.   I can imagine Bruce being in a musical. 

The beauty of "Songs for a Tailor" is Bruce expanding his canvas or landscape and filling it with a strong essence of wonderful songs, but again, his voice and bass playing is essential here.  It's obvious to me that he needed to get out of the Cream framework because I think it became too confining.   It's a great album to revisit time-to-time.  "Songs For a Tailor" still sounds strong and mighty. 

Ennio Morricone "Danger: Diabolik" CD, Album, Unofficial Release, 2001 (Sycodelic)

The legendary and lost soundtrack album from Ennio Morricone.  "Danger: Diabolik" is the ultimate late 1960s (or is it the 70s) hero/villain film made in Europe.  A combination of The Phantom meets James Bond mixed with Fantomas, Diabolik is the ultimate of the ultimate masked heroes, who embraced the sexual revolution with great passion.  Actually, he has a true love that is more Eros than keeping a home together.   The soundtrack is equal to the film, and the story is that the master tapes were destroyed in a fire.   So the soundtrack has never been released officially, only in the shadow world of bootlegs.  

The album is great. It does have a classic Morricone song "Deep Down," which I believe is known to all those who love Retro Lounge Culture.   The album is a mixture of electronics, sound effects, and sharp bursts of melody that runs through the entire soundtrack.  This particular package also has a lot of dialogue, which I suspect that they just recorded everything from a film print or VHS tape.  So, entirely listenable, the sound quality is not the best in the world.  Still, it's a fantastic album, and important for those like me who collect Morricone. 

Mick Harvey "Intoxicated Man" CD, album, 1995 (Mute)

In 1995, Mick Harvey put out his first album of Serge Gainsbourg songs.   This is not an easy process to do because Gainsbourg's lyrics are very tricky to do in English.  There are many layers of puns, jokes, and something meanings in his songs.  Very textural work, and it takes a master to translate the lyrics from French to English.   Harvey does the job swell, as well as my translator for the Gainsbourg biography I published (TamTam Books) by Gilles Verlant.  Paul Knobloch catches the layers as well.  But here we concentrate on Harvey's album of Gainsbourg tunes.

Gainsbourg as a songwriter, singer, arranger is a vast canvas.  Harvey doesn't just focus on the hits here on 'Intoxicated Man," but also the 'deep cuts' of this songwriter.   Also Harvey, perhaps due to his lifetime association with the world of Nick Cave, he automatically has a sense of sophistication.  So Harvey matching up with Gainsbourg is a great fit.   A wonderful introduction to the world of Serge's songs, but also the French Jazz/Pop culture as well.  

Harvey has done five Gainsbourg albums, and "Intoxicated Man" is his first of the series.  The hits are here as well as some of the more obscure songs - but the Bardot/Gainsbourg combination is well represented with "Ford Mustang," "Bonnie & Clyde," and "Harley Davidson."  Harvey stays close to the song's purpose and melody, but he adds his own unique arrangements to the works here.  This is very much of an album by a musician who is quite talented, perhaps brilliant as an arranger.  I have always imagined that Harvey was Cave's music director in The Bad Seeds, and here he uses his talent in that sense by the selection of the songs, but their production/arrangement as well.  Exceptional work.  I can't imagine any Gainsbourg fan would find fault in these recordings.   There's not a bad cut here because Harvey is an excellent editor and a man of great taste. 

Various - Jean-Pierre Melville - "Le Circle Noir" CD, Compilation, 2008 (Universal Music)

As far as I know, this is the only compilation of soundtrack music to Jean-Pierre Melville's cinema.  I can't think of anything more pleasurable than being in a theater in front of a Melville image/narration.    The word "perfection" comes to mind.  Not only for the mind but the physical pleasure of being glued to one's seat and watching the world of French gangsters do what they do best: drink, rob, and existential dialogue.  

"Le Cercle Noir" is a CD that came out in 2008 that pretty much covers all of Melville's film work.  We have the great theme by Jo Boyer doing "Bob Le Flambeur" as well as the haunted score for Le Samouraï."  For a CD, the packaging is great with a wonderful essay both in French and in English.  Not the easiest CD to find, but very much worth the hunt.  I think I got mine in Paris, which is odd because usually, I have a hard time locating French New Wave soundtracks in that city, even though the CD is made in France.  Japan tends to be the capital of French New Wave albums/CDs. 

ist Hide Credits

		Bob Le Flambeur (1956)
1	–Jo Boyer	Thème De Bob Composed By, Trumpet – Jo BoyerPerformer – L'Orchestre D'Eddie Barclay*	2:32
		Deux Hommes Dans Manhattan (1959)
2	–Christian Chevallier	Deux Hommes Dans Manhattan (Générique)	1:51
3	–Christian Chevallier	Déambulation Nocturne	2:07
4	–Christian Chevallier	Filature	2:00
5	–Christian Chevallier	Street In Manhattan Lyrics By – Jo WarfieldVocals – Glenda Leigh	3:52
		Léon Morin, Prêtre (1961)
6	–Martial Solal	Léon Morin Composed By – Martial SolalHarmonica – Albert Raisner	1:54
		Le Doulos (1962)
7	–Paul Misraki	Le Doulos (Générique)	3:22
8	–Paul Misraki	Jazz Rapide	3:17
9	–Paul Misraki	Final	2:16
		L'Aîné Des Ferchaux (1963)
10	–Georges Delerue	Les Appalaches Composed By – Georges Delerue	4:36
		Le Samouraï (1967)
11	–François De Roubaix	Le Samouraï Orchestrated By, Directed By – Eric Demarsan	2:03
12	–François De Roubaix	Fatalité / La Blessure Orchestrated By, Directed By – Eric Demarsan	3:09
		L'Armée Des Ombres (1969)
13	–Eric Demarsan	Thème De Gerbier	3:13
14	–Eric Demarsan	Le 20 Octobre 1942	1:38
15	–Eric Demarsan	Mathilde / Les Barraquements	3:05
		Le Cercle Rouge (1970)
16	–Eric Demarsan	Le Cercle Rouge	1:50
17	–Eric Demarsan	Quand Les Hommes Ont Rendez-vous	1:08
18	–Eric Demarsan	Final Inédit	4:03
		Un Flic (1972)
19	–Michel Colombier	Un Monsieur Distingué	3:20
20	–Michel Colombier	Un Casse	2:57
21	–Michel Colombier	C'est Ainsi Que Les Choses Arrivent Lyrics By – Charles AznavourVocals – Isabelle Aubret	3:58
		Musique Inédite Pour Le Cercle Rouge (1970)
22	–Michel Legrand	Chassés-Croisés	2:43
23	–Michel Legrand	Visions	2:49
24	–Michel Legrand	Engrenages (Final)	2:21

Various - Jean-Luc Godard "Histoire(s) de Musique" CD, Compilation, 2007 (Universal Music)

I have a habit of picking up any collection of music that was used in Jean-Luc Godard's films.  There are lots of collections or compilations out there and it's impossible for me to choose the best one.  All are great!   So, reader, you have to take that in, that I'm just a super-fan with no critical judgment whatsoever on the subject matter of Godard's various soundtracks.  There is a Japanese CD compilation that is excellent and I wrote about it here:  http://toshberman.blogspot.com/2017/04/va-bandes-originales-des-films-de-jean.html

I bought "Histoire(s) de Musique" in Tokyo about ten years ago.  For some odd reason, it's not difficult to find French New Wave soundtracks on CD in Japan.  This collection put together by Universal Music is excellent.  The one unique cut that the other's don't have is the song "Mao Mao" sung by Claude Channes and from the film "La Chinoise."   This album covers all the Godard films from À bout de souffle ("Breathless") to Sauve Qui Peut (La Vie).  So the time frame is from 1959 to 1980.  The classic Godard years and the music are excellent.  Martial Solal, Michel Legrand, the great Georges Delerue score for "Contempt" as well as Paul Misraki, Antoine Duhamel and Gabriel Yared. All wonderful soundtrack composers doing their best iconic work. 

Also the CD has great text with nice photographs.  Do get it!

The Ventures - "Golden Pops" / "Pops in Japan" CD, Compilation, 1999 (See for Miles Records)

Not an easy CD to find, or the two original albums "Golden Pops" (1970) and "Pops in Japan" (1971). These two oddities or albums was a fascinating find for me when I lived in Japan, and I think I originally rent the original albums to listen to them around 1989.  Nevertheless, The Ventures were (and still are) an important band in Japan.  One of the first, if not THE first, bands to tour Japan with electric guitars.  Once can't undermine the importance of The Ventures for Japanese pop culture.  Due to the commercial marketplace or just something that they wanted to do, The Ventures made two albums focusing on Japanese Enka music.   Enka is an entirely unique pop music that is a big part of the Showa era in Japan.  Theme wise not that far from weepy country and western, but also is a version of the Japanese blues.  The ultimate bar music of loss, regret, and sadness. 

Weirdly enough, this is the only Ventures collection I have. I was never a fan of their music because it seemed water-down compared to the other great surf/instrumental bands of the early 1960s.  But "Golden Pops" and "Pops in Japan" are really unique albums, with some fantastic music within the disc.  I recommend this CD package for those who have a yen for Japanese pop culture or have an interest in the Showa era.  On one level it's totally marketing for The Ventures in a country that still brings them currency, due to their yearly tours of that country, but also eccentric listening experience as well.  American musicians interpreting Japanese pop music.  The hybrid is fantastic. 

Johnnie Ray - "High Drama: The Real Johnnie Ray" CD, Compilation, 1997 (Columbia)

Johnnie Ray is one of the most underrated singers of the 20th century.  For a man who was such a sensation is to this day, have problems with editors when it comes to the spelling of his name "Johnnie."  I can't count all the times I have read "Johnny" instead of Johnnie."  The causal culture historian may see Ray as one of the symbolic figures of the safe and bland 1950s (Ha!), but the fact is this gay orientated pop singer is more of a Rhythm and Blues performer than anything else.  He also wrote some of his songs, which are generally terrific.   As a performer, there is no one better than him.   His ability to have what looks like a nervous breakdown on stage, as well as his visually chunky hearing aid brings a vulnerability to the package that is downright seductive. 

This package "High Drama" is not the first Johnnie Ray compilation, but it's the first one to see him as a significant recording artist.  This and a collection put together by Bear Family Records (a label that never fails) are superb introductions to the magic that is Johnnie Ray.

Even the song titles bare a sense of wonder, mystery, anxiety, and existential dread, such as "The Lonely Ones," "How Long, How Long Blues," or "She Ain't Say Nothin' at All."  There is also in his songs tied into nature, that is sensual and more emotional than a picture postcard of a beautiful place - for instance, "Mountains in the Moonlight."   It is almost how a classical German approach to nature in the woods or forest.  There is a spirituality that goes hand-in-hand with one's mood, more than anything else. 

"Cry" is, of course, the hit on this collection, but there are two songs here that knock me to my knees, and that's "Soliloquy of a Fool" (perhaps the iconic type title from this singer) and "Such a Night."  Both are passionate somewhere on the scale of 1 to 10 being at least 12.  "Soliloquy of a Fool" is almost a minimal electronic piece but done with orchestration.  For my ears, a recording that is very much ahead of its time, and needs to be re-listen to in the 21st century.   "Such a Night" is Johnnie going wild and over-the-top in sexual overtures.   This collection is an excellent introduction into the mystique and wonderment that is Johnnie Ray. 

V.A. - "Bandes Originales des Films de Jean-Luc Godard" CD, Japan, 1994, (Hortensia)

Over the years there have been many great reissues or original vinyl that are connected to Jean-Luc Godard's film work.  As a Godard fanatic, I want them all!   But if push becomes a shove, and there is a fire in the house, and I have to reach out for that one Godard soundtrack collection, it would be Bandes Originales des Films de Jean-Luc Godard."

The reason is because it's an excellent package, the cover becomes a poster, but beyond the visual, the music on this CD is fantastic.   It covers "A Bout de Souffle" (Breathless), "Pierrot Le Fou, " "Alphaville," and the great soundtrack to "Le Mepris" (Contempt).  Very much a perfect compilation of the early Godard soundtracks, all on one disc.  Of course, the original soundtrack albums can be fitted on a 10" ep, when originally released - but to get all of it here is a fantastic buy.  The Japanese know how to put a music collection together.   The composers/performers are Martial Solal, Anna Karina (Godard's then-wife, and a brilliant actress), Antoine Duhamel, Paul Misraki, and the legendary Georges Delerue.  Find and buy!

Brian Eno - "Reflection" (Warp Records)

I thnk most of us who have been familiar with Eno's work, can tell what this album is just by its title "Reflection."  Clearly, this is an ambient 50-minute piece of music that doesn't stand out from the other ambient works by Eno.   Still, I have been playing this album (by streaming) every day since it has been released on January 1, 2017.  Considering that we are heading towards unknown and scary territory this year, it seems a nice gentle way of easing into the new mood of the world.  

First of all, this album is available on various streaming platforms as well as CD and vinyl.  The vinyl is a double album, which means one has to change the record every 20 something minutes, which is perfectly fine, but I wonder if it works for this album.  I think it is the type of recording that one just pushes a button and forgets about time. I subscribe to Apple Music, which I use as a radio, or when I'm curious to hear new music. "Reflection" works best when it is not interrupted by the changing of the sides.  The flow here is necessary, and this recording is made for the CD and streaming format.  The one thing I don't know if the music sounds better on the vinyl format.  Nevertheless, I use this music to block out the outside world, especially when I'm writing.

One can also take a very satisfying nap to this album.  I tried it on the second of January - and the length and the soothing sounds is a perfect gateway to the dream world.  Yesterday, I went to the Echo Park library to do work, and the music does it magic in that context as well.   The big question is this better than the other Eno ambient works?   I think the album does its work, and comparing it to other works by Eno is almost a trivial task.   "Reflection" is what it is.  A bridge between the waking life and into the dream world of one's thoughts and feelings.   It's only essential if you need a sound, and "Reflection" works well in that sense.  Eno's "Discreet Music" is a masterpiece, and "Reflection" is just pretty good and does it job well.  

The Andrew Oldham Orchestra - Plays Lionel Bart’s Maggie May

The Andrew Oldham Orchestra - Plays Lionel Bart’s Maggie May

CD, Album, Reissue, Remastered, Japan, 2013

Decca

I didn’t even know that Plays Lionel Bart’s Maggie May existed, when some years back I walked into a small Shinjuku record shop, and there it was!  It was close to $50, and way too much for me to buy at the time.  Of course, I thought of that record whenever I closed my eyes at beddy-time.  So there was at least five years of regrets about passing up on this album, and very few people knew of it.  The most famous Andrew Loog Oldham Orchestra album was their first one, which was Rolling Stones’ covers.  The Lionel Bart album was a weird one for me, because it was devoted to one songwriter, Lionel Bart, and one of his shows, who for most Americans, would be king obscure.   Which makes this album fascinating on a lot of levels.  Oldham was a friend and someone who looked up to Bart as both a music businessman as well as a music hustler of sorts.  He played the game, but I think the game won in the end.  Nevertheless he was a key figure in British rock before The Beatles broke big.  He wrote songs for Cliff Richard and most famously the musical “Oliver.”  

Here Oldham, John Paul Jones, and others, turns on their magic to the tunes from “Maggie May.” I don’t think there is an official OST of this musical or if it is, disappeared into vinyl heaven.  So this is what we take into existence, and thank god for the Japanese, they re-leased it with not only mono mixes, but stereo as well.  Plus 11 bonus cuts.  

The mono version of this album is the one to hear over and over again.  It’s classic Oldham vibe.  For instance, “It’s Yourself” has a killer lead bass sound, very Jet Harris.  But the stereo version, the bass is practically gone!  Nevertheless it’s a cool album, and this CD collection is incredible, mostly for the bonus cuts, which to be honest, are the highlights of this set.   

The rest of the album is recordings from around this time (1964) from the Andrew Oldham and Immediate Records world.  Totally essential songs like “Each and Every Day of the Year” (Jagger & Richards) and “All I Want Is My Baby” (Oldham & Richards) sung by Bobby Jameson and simply incredible recordings.   Not sure if the purpose was for the publishing end of the music business, but Jagger and Keith came up with wonderful tunes.  The other stand out by them is “(Walking Thru’ the) Sleepy City”, performed by The Mighty Avengers, but gawd, what a fantastic song.  The best $28 spent on a CD in my lifetime!

Bryan Ferry - "Let's Stick Together" CD Album

Bryan Ferry - Let’s Stick Together

CD, Album, U.S.,  1990 (Released 1976)

Reprise Records

A very odd record.  In the same year, at least in the U.K. Bryan Ferry released an EP that was sort of perfection in format and music.  Let’s Stick Together is a full album including that EP, but still, the album feels like a b-side to various singles.   In fact, I believe that most of this material were b-sides.   On this album he does or re-do’s five Roxy Music songs.   All decent covers, but not as good as the Roxy originals.   So one wonders,  perhaps he re-recorded them for financial reasons? 

The one thing that Ferry never fails to do is do a great version of an American Songbook classic.  Here he does “You Go To My Head” which is superb.   The voice, the image, and his stance backs the greatness of this song.  It’s a natural fit.  Also his take on “Let’s Stick Together” works because he has that sheen of the surface and when it is attached to a gritty R&B song, it adds a new dimension to the work.   So yeah, enjoyable package, but what is the thought behind it?

Brian Eno - "Music For Films" CD

Brian Eno - Music For Films

CD Album, Remastered, UK, Europe & U.S., 2005

Virgin

An interesting concept that this album was made in thought to be soundtracks to films that are imaginary or doesn’t exist.  Eventually over time Producers have used this music, but the original concept is music that is for film, but alas it is only music.   

This is a good but not great album, but I suspect that a lot of the tracks were recorded during Eno’s masterpiece Another Green World but somehow didn’t make it to the final record.  I am not sure about this, and I’m totally guessing - but when I hear this album that is the first thought that comes to my mind. 

Brian Eno - "2: Vocal" 3 x CD Box Set

Brian Eno -  2: Vocal

3 x CD, Compilation, Box Set, UK, 1993

Virgin

This is a very good compilation of Eno’s vocal recordings in one package.  The essential aspect of the box set are the singles that never made it onto the official albums released by Eno.  “Seven Deadly Finns” and “The Lion Sleeps Tonight” are important early Eno recordings.  As well as the record he made with Snatch “R.A.F.   The rest of the songs  are pretty much available on his other albums, but I think the key thing here is the packaging.  One who is a fan will want the box set of his vocals as well as the Instrumentals package.  It is sort of like owning and controlling the yin & yang.   So this, basically is a great present for the one who doesn’t have Eno’s recordings.  But I think for the hardcore fan, they would be happy to have the original albums as well as trying to locate the 45 singles.  

If one is on a strict budget, I would settle for the instrumental set, because I think there is a great deal of unreleased or hard-to-find tracks in that package.  The Vocal box set is not that obscure with respect to finding the original albums and recordings. 

Also keep in mind that at first look one would presume that his package would represent the entire early albums, but this is not the case.   Getting the original albums are much more of a desire, because those albums are nearly perfect.  Including the sequencing of the songs, which flows beautifully as an album.  

So in the nutshell, good gift item for the person who needs to hear Eno, but for the fan, I would settle for the original albums.