V.A. -"History of British Rock" Compilation, 2 x Vinyl, 1974 (Sire)

Music became a force for me during my childhood. I was nine or 10-years old when The Beatles made their appearance on the Ed Sullivan Show, and the impact of that event or spectacle had made a great impression for me. I wasn't aware that there was British English in the landscape until I heard them speak Liverpool English. The Beatles, for me, besides being a great band, also were the heavenly gate to the entrance of British music culture for yours truly. The Stones came upon me at the same time as the Fab Four. However, it was the Honeycombs that made an impression on me in a very insightful manner that still gives me goosebumps when I hear their recording "Have I The Right." In 1974 when I turned 20, I purchased "History of British Rock," due that they have The Honeycombs' hit song on this compilation.

Alas, this collection brought memories back to me in the same manner as Marcel Proust's character taking a bite of the French cookie. Billy J. Kramer, The Mindbenders (great name for a band by the way), Troggs, and so forth had a magnificent presence in my childhood. Therefore even in my 20's and thinking of the present, I was taken to my childhood in a pleasant manner. The album also introduced me to new music that wasn't popular in Los Angeles in the early 60s, such as Cliff Richard's "Blue Turns To Grey," a remarkable song by Jagger/Richards and an excellent recording. Also, Status Quo's "Pictures of Matchstick Men," Dusty Springfield's "I Only Want To Be With You," and The Pretty Things "Don't Bring Me Down." Those were new songs for me. I have read about these artists in teenage magazines, but never had the opportunity to hear the songs, until I purchased "History of British Rock."

Over the years, I lost this compilation but recently purchased a copy at Rockaway Records, which was under $5. Now, the album not only takes me back to the early 60s but also 1974, when I originally bought the album. A record is not only a listening experience but also an entranceway to one's past.

The Candy Rock Generation - "Super Rock" 3xVinyl, LP, U.S., 1969 (Columbia Music Treasures)

Truly one of the greatest of the great 'greatest' hits packages of its time (1969).  Where else can one get "I Started a Joke," "Both Sides Now," "On the Road," as well as "Midnight Confessions."  If you bought the singles, it would cost you a mint, but I actually paid under $3 for the whole 3-album package.  Of course, these are not the original artists, but a group of anonymous musicians who probably watched the clock on the studio wall, as they as much as possible, follow the arrangements to the original recordings. 

The Candy Rock Generation may be the greatest rock band ever, and truly their album "Super Rock" is properly named.   From The Beatles to the Doors to Iron Butterfly and beyond, in a way it is the defining package of 1960s music.  That it came out at the end of the era, perhaps this is the ultimate portrait of that time.  A knock-off version of brilliant records is taste, but this is more of a science than anything else.  Or, even a group of Madison Avenue Mad Men who somehow got the keys to a recording studio.   

Morrissey - "This is Morrissey" Vinyl, LP, Compilation, 2018 (Parlophone/Regal)

This is the Morrissey I love.   Not the guy who is giving opinions out like he's a Donald Trump, but the brilliant songwriter, performer, and quite aware of recorded music history.  "This is Morrissey" is a new compilation of music of his the late solo 1980s/early 1990s material.  Seeing this album, I know there are traces of the great wit/artist that is still with us.  As if one who either reads Discogs as a narrative or is a fan of Morrissey, there are a lot of compilations of his music out in the market.  On one level, and on a surface one at that, it seems he floods the market of releases perhaps for the financial stake in doing so.  Which may be true, but it is also the aesthetic of Morrissey to do a compilation album like this.

The label, Regal is very old school compilation where they released music by an artist, and usually not expensive to purchase on a consumer front.  "This is Morrissey, just cost me under $20, and the selection of his music is excellent.  I'm not sure if Morrissey himself selected the songs/tracks or someone from his record label/management, but whoever did an excellent job.  The key tracks to purchase "This is Morrissey" is the Ron Mael/Russell  Mael remix of "Suedehead," which is really the bastard child of Sparks and Morrissey. It's already a beautiful song, but Ron and Russell give it another dimension, and in their mix, they make it into a Sparks piece - but still in spirit, very much of Morrissey.  It is one of the great re-mix recordings, just because it's not a DJ overshadowing the artist, but another artist's approach to something that is already fantastic. It is never meant to replace the original.  The other great song here is "Whatever Happens, I Love You," which initially was on another compilation album, and I'm not sure if it was ever released as a single, or b-side, but it is one of the Morrissey classics.  Beautiful production, and just a wonderful Alain Whyte collaboration with the singer. 

Morrissey's brilliance is not always just the music.  His witty appreciation for the practices of record labels from the 1960s and so forth is very much honored here with this release.  It's Morrissey looking back at his past, and his habitual record buying practices.  So yes, one may have these songs in different formats, but I feel Morrissey is sincere in that he wants to present these collections as an art object, or a work to be admired or thought of in such manner. Even the liner notes which are in French shows an absolute love for the medium.  And this is the Morrissey I love.  

David Sylvian & Holger Czukay - "Plight & Premonition Flux & Mutability" Vinyl, LP, Album, Compilation, Reissue, 2018 (Grönland Records)

David Sylvian and Holger Czukay became good friends when Czukay helped Sylvian on his first solo album "Forbidden Trees," which by the way is an excellent album.   Around that time, Czukay invited Sylvian to come to his studio in Germany, where he recorded and played with his previous band Can.  They made two albums together "Plight & Premonition" and "Flux & Mutability."  Both albums are now reissued on vinyl in one beautiful package, courtesy of Grönland Records, who have been reissuing a lot of Czukay's recorded work. 

On the surface, first, listen one thinks of the David Bowie instrumental sides from "Low" and "Heroes."  They border on the ambient side, but there is something textural that is not precisely like wallpaper music.   The same goes for the Sylvian and Czukay pieces.  Also, these four pieces on the album are improvised works, and I'm not sure how to improvise the Bowie tracks were.  Nevertheless, these primarily instrumental works (with some borrowed voices deep in the mix) are very much in the aesthetic and sound of the Sylvian and Czukay world.  Their relationship is perfect for making music.  To my ears, Sylvian is attracted to third world or Asian melodies, and Czukay has his ears tuned into the European 20th-century classic mode.  There are traces of western orchestration that comes and goes in the mix, and it is indeed a world where the band Japan meets Can.

My favorite cut is "Mutability" which has a lot of guitars, with various pedals/effects.  It's a majestic piece of music.  The music is mellow, but one is never sure how things will play out in the music.  For instance, at the beginning of "Plight," there's a sound of either a voice or a bird screeching that is startling to the listener.  It reminds me of the famous film cut in Orson Welles'  "Citizen Kane" where a parrot shows up suddenly with a loud screech.   A superb collection of two albums, with a beautiful essay by David Toop.  

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. 

The Smiths - "Louder Than Bombs" 2 x Vinyl, Compilation, 1987 (Sire)

The Smiths represent an era or a time when things were felt with great wonder and excitement. It was also the last band that really expressed themselves through their design of album and 12" single covers.  Each one was an entrance to a world that seemed gay or at the very least, a portrait of an artist who railed against the system or machine, and either played the price of becoming obscure or a footnote to a series of sad moments.  The Smiths became the voice for those who felt differently or couldn't fit in the world that was clearly made for other people.

There is no such thing as a bad Smiths record, but for me, it is their compilations that speak loudly to me.   The Smiths were one of the last bands to make the 45 rpm single separate from the album.  Albums were important, but I suspect that The Smiths true aesthetic was the A-Side and the additional B-Side. "Louder Than Bombs" is a compilation of their singles, and none (as far as I know, and being a lazy sod, I'm not looking this up as I write this essay) ever made it on to an official Smiths album.    My favorite songs of theirs tend to be the singles and b-sides.  The Smiths were brilliant in releasing incredible B-Sides, which traditionally were throw-a-way songs, and not meant to have any attention attached to them.  But, all of us vinyl lunatics know that is not necessarily true, and The Smiths had brilliant songs placed in the obscure position of being forgotten.  Or not, because The Smiths has paid attention to these 7" little wonders by releasing "Louder Than Bombs," which for the consumer, is a bargain, due to the cost of purchasing 45 rpm imported singles. 

Then, we didn't watch the footsteps leading to a horror show that we now have on hand.   Who would have known?  So in that sense, The Smiths are a band that very much wears the past as a shield, even in its original time of release, but now, it seems that this world didn't exist, or did it?

Michel Legrand/Jacques Demy - "Le Cinéma en Chanté" CD, Compilation, 2009, France (Universal)

There was once a better place in the world, and Jacques Demy films represented that world.   To go to a movie theater and to be transported into a landscape that makes happiness.  The sadness is when one leaves the theater and realize that the world hasn't changed outside the theater.  To prolong the mood, it's best to have this compilation of music by Michel Legrand, composer for Demy's classic films.  

At heart, Legrand is a jazz guy, and his music has a swing to it, but it also expresses a happy-go-lucky attitude even when love turns sour.  The sadness in his music is just another layer of clothing that embraces the characters in the Demy narratives.  This CD is a great compilation, and therefore a magnificent introduction to the aural world of Demy and Legrand.  It is not complete, but it does feature the central music for all of the Demy/Legrand film projects.  For my listening taste, I love "Lola" and the Jean Cocteau like (a tribute?) "Peau D' Ane."   It reflects the romance of the films or the haunting qualities of the characters.   Overall there is no such thing as a bad Legrand piece of music.  

Serge Gainsbourg ' "Le Cinéma de Serge Gainsbourg" Vinyl, Compilation, LP, 2015 (Decca)

This is volume one of a two-volume set of the vinyl release of Serge Gainsbourg's soundtrack work for French films.    It's an excellent compilation for those who want to put their toe in before putting their entire body into the bath water that is Serge Gainsbourg and his music making for films.  For me, it's impossible to have the name Serge Gainsbourg on a disc or CD label that it's essential for one to buy and enjoy.  But in real life, there is, of course, better compilations or albums out there than "Le Cinéma de Serge Gainsbourg."  For instance the CD box set "Le Cinéma de Serge Gainsbourg 

Musiques De Films 1959-1990."

For those who are not fussy with formats of vinyl or CD, the box set is the completist choice where one has all the Gainsbourg film music in one container (three CDs in the box set).  For the nerd, such as yours truly, I need the vinyl edition as well.  Don't ask why.  It's a collector's illness if anything else.  But to focus on this particular vinyl compilation, it's a gem.   Throughout his career, Gainsbourg worked with three great arrangers: Alain Goraguer, Michel Colombier, and Jean-Claude Vannier.  All three are represented in the vinyl edition of "Le Cinéma..."  

This is not a greatest hits collection of songs, but a thoughtful approach to his soundtrack work - which at times he co-wrote with his arrangers.   The one thing that never changes is the lyrics - which belongs entirely to Gainsbourg.   It's a solid and delightful collection of music.  If you are like me, this is a springboard or entrance to the Gainsbourg world.  Enter, and for sure you will be spending more money and time locating the actual soundtrack albums or EP's. 

Screaming Lord Sutch - "Screaming Lord Sutch Story" Vinyl, LP, Album, Compilation, Unofficial Release,

I never feel that Screaming Lord Sutch came from the world of rock n' roll.  The legendary Lord I feel came from the theater and film world of Tod Slaughter.  A horror icon who traveled throughout the United Kingdom performing in Victorian-era macabre theater plays as well as appearing in borderline exploitation horror films. Theater of absurdity meets rock n' roll plus a dash of Tod equals Screaming Lord Sutch. 

Only one man can capture the intensity and eccentricity of Lord Sutch and that, of course, is Joe Meek.  Probably their most famous recording is "Jack The Ripper" which even out cramps The Cramps in horror rock.  If one has to compare Lord Sutch to another artist, Alice Cooper comes to mind, but Alice (and that band) strikes me as more intellectual.  Sutch is in one's face, and it's entirely music hall entertainment, but not in the tasteful sensibility.  

Meek brings the horror out of Sutch's visions into the 3D sound of its production.  Screams, laughter, and the savage rocking of the backing band, The Savages, of course, are remarkable then as well as now.  The membership of that band is a mystery.  Possibly Jimmy Page, but more likely Ritchie Blackmore (of Deep Purple fame) played guitar in the Meek recordings, but due to the insane world of Meek and company it is never obvious or explicit, which comes to this album or compilation of Lord Sutch cuts - "Story."

The album is a lovingly put together bootleg, but even with liner notes, it gives no credit to Joe Meek, or any information regarding the recordings, or who plays what.  With the help of the Internet, I figured that Meek produces all except one cut.  For sure all the early trademarks of the Meek aesthetic is tattooed on these set of recordings.   Side one is devoted to horror, which is Lord Sutch's natural habitat, and side two is "rock."  The highlight for me is the demented version of "The Train Kept A Rollin" which is insane.  As for the others, they seem to be the blueprint for bands like the excellent Cramps to follow or connect their dots.  Punk rock in a garage rock manner, Screaming Lord Sutch plus Joe Meek was a brilliant team.  

Pink Floyd - "Masters of Rock" Vinyl, LP, Compilation, Netherlands, 1974 (Columbia)

Finding the songs that are not on, or never appeared on a regular Pink Floyd album is a consumer's game in trying to find the right record or fit for the listener.  For my taste, I love Pink Floyd's compilation "Masters of Rock," which is a series of compilations put out by Columbia Records in the 1970s.  For the Syd Barrett fanatic (which I border on in that category) there is "Apples and Oranges" and "Candy and A Current Bun."  "Apples" I believe was only officially released as a single, and I think "Candy, and A Current Bun" was a b-side to another Pink Floyd single.   That's the reason why I bought this album.  Also, it was nice to have both "See Emily Play" and "Arnold Layne" on one disc.  The rest of the Syd songs all come from the first Pink Floyd album, which of course is a masterpiece. 

The big surprise for me, and I have to let readers know that I pretty much don't know anything about post-Syd Floyd, are the songs "It Would Be So Nice" and "Paint Box," both by the keyboard player and sung by Richard Wright.  Incredibly solid and even if I may add fantastic pop songs.   Why wasn't "It Would Be So Nice" a huge hit at the time?  As I write, the chorus sticks to my brain like oatmeal to the guts.  The ultimate psych-pop tune that is authentically psychedelic.  "Paint Box" another fantastic tune, that is a song diary.  Wright, I think, at least at this period, is underrated as a songwriter. How did he lose his position in Pink Floyd to Roger Waters?  Who by the way also has a fantastic song "Julia Dream."  But still, I was shocked at how strong the songs are by Wright.  My question out there, are there other fantastic songs by Wright on later Pink Floyd albums?  Is his solo album any good?

The beauty of a compilation is not only getting the hits, but the undiscovered b-side or the 45 rpm single that didn't become a hit, yet, still, a fantastic record.    "Masters of Rock" is a mind-opener for me.   

The Move - "Something Else From The Move" Vinyl, LP, Compilation, France, 1979 (Cube Records)

Has there ever been a band such as The Move, who moved from psych-pop to heavy, and then at times, something operatic and more significant than big?   Never on my top ten list of loves, because I keep forgetting that they exist, and that is apparently a shortsighted position on my part.  Roy Wood is not only an incredible songwriter, but the eccentricity of his stance in the pop music world is one to admire. He's an artist who accepts the abscess of too much, and often I think how is this even possible?  

The Move has two lead singers Carl Wayne and Wood.  Wood writes the material, and Carl Wayne, in a Roger Daltrey manner, takes the material like a grand actor.  If one has to compare the band with another, I have to imagine it will be The Who.  Both groups are melodic as well as thrashing, and there is a sophistication in the mix that makes it a couple of notches better than the standard pop of its era.  It's not surprising that The Move influenced Sparks because they both share the density of the overall sound, as well as songs that are double-edged in imagery and presence. 

"Something Else From The Move" is a compilation album from France.  Side one is their early singles, but including "Brontosaurus" a song when The Move was a trio featuring Jeff Lynne.  Still, this collection is Roy Wood orientated, and side two is a live set from the Marquee Club in 1968.  The reason I purchased this album is that of the live side. One can find this material in various formats, including an EP, but it's pricey to locate.  Here The Move covers Eddie Cochran ("Something Else"), as well as Spooky Tooth, The Byrds, and surprisingly Love.  Besides Cochran, which is music from the past, the other artists they covered were contemporary and very much in force still in 1968. 

The secret of The Move is that they were very baroque orientated in their arrangements, but played the material in a heavy manner.  So there are layers of sound and textures within the three-minute pop single, but also they were able to stretch out in more extended material as well.  As a compilation, it didn't take that much imagination in putting this collection together; still, it is such an enjoyable listening experience. 

Robert Wyatt - "Different Every Time Volume 2: Benign Dictatorships" 2 x Vinyl, Compilation, 2014 (Domino)

Curated by Robert Wyatt, this is his second compilation of what he feels is his best work on the disc. The first volume was recordings under his own name, but here it is totally devoted to his collaborations with other artists.  Basically, he served on their recordings as a vocalist or even just a backup singer.  The thing is when Wyatt opens his mouth and he sings, he pretty much owns that tune.  It's not that he has the greatest voice on this planet, but as a vocalist, he's a unique presence, and in a manner, he reminds me of Chet Baker. Not that their voices are similar, but both are musicians who also sing.   

Of the seventeen songs here, I only know three songs.  They are Phil Manzanera's "Frontera," Nick Mason's "Siam," and one song under his name, but written by Elvis Costello and Clive Langer,  "Shipbuilding."  Beyond that, all the artists are basically unknown (except for Bjork, Hot Chip, and Epic Soundtracks - artists that I have heard of, but really don't know their music.)   Wyatt I think is moving out of his comfort zone, and that makes him an artist of importance.  He is an excellent collaborator.  I can't say I love every track, but all of them are at the very least interesting.  Special notice to his recording of John Cage's "Experiences No. 2" which was an early Obscure Records release.  

Holger Czukay - "Der Osten Ist Rot"/Rome Remains Rome" 2 x Vinyl 10", Compilation, UK, 2014 (Grönland Records)

I'm not a total Can virgin, but I do have two Can albums and one Holger Czukay "Movies" LP.  Just recently I found some odd Holger releases that I know very little about, and I suspect that they were originally released as 12" LPs, but recently re-released by Grönland Records (out of Germany) as a trio of 10" double disc sets.   "Der Osten Ist Rot/Rome Remains Rome" is one such set.

I like Can a lot, but I prefer the solo music by Czukay.   Eccentricity rules the aural world, and I'm a huge fan of Czukay's mix-and-match style of music making, where I suspect he uses samples of classical music, voices, and outtakes from Can sessions.   This particular package of music is both catchy, danceable, and experimental in the Musique Concrete style of making music.  There are also moments of great beauty, that is like watching the sunrise or set, and not expecting to see that due that maybe a building or mountain is covering the rise and fall.  "Der Osten Ist Rot/Rome Remains Rome" is a joyful experience from Side A to the end of Side D.  

Joe Meek - "The Joe Meek Story" Compilation, 2 x Vinyl, LP, 1977 (Decca)

My first Joe Meek recording I have ever heard was The Honeycombs "Have I The Right," in 1964.  I was ten-years-old at the time, I knew nothing of the world of the record producer, or even aware of the identity of the songwriter.  I knew the artists that were The Honeycombs and they had a girl drummer.  Did I need to know more?  It wasn't until my year-long stay in Japan that I found a Joe Meek compilation at a swanky music store in Roppongi called 'The Wave.'  I was intrigued to hear more sounds similar to The Honeycombs, which from the very first time of the hearing, I was a life-long fan of that unique echo sound.  

Shortly I became a Meek addict, especially when I read his biography in various publications.  I have always had an interest in the Gay subculture in London, and Meek is a character that was very much part of that world.  Also the fact that he was insane and killed his poor landlady, and then committed suicide.  A tragic incident, but one can hear traces here and there in his recordings that expressed his interest in the after-life, UFOs, and perhaps hidden messages between men.  Meek, perhaps even more important, was a sonic genius.  Once you hear the sound of Meek, you will never forget it.

Over the years there have been numerous compilations on Meek's recordings, which in theory, is difficult to pull off, due to the fact that the record's ownership is often in question, due that Meek often licensed his recordings to other labels.   Therefore we have this Decca Records release "The Joe Meek Story" which is very good, but not complete by any means.  What excited me to have this record is to obtain Meek recordings that are not digitalized for the CD format.  It's not that difficult to find an original Meek production as a 45 rpm single, but locating vinyl compilation of his works is rather difficult.  Except for a handful of original vinyl releases, most of his work came out as singles. 

The plus side of the Meek compilations is that one comes upon a song or recording never released on another compilation.   I have at least 10 compilations of Meek's (all on CD) and often they don't repeat their songs/recordings.   "The Joe Meek Story" is missing some famous recordings, but it's the obscure tracks that I find totally fascinating and great.  Mike Barry and The Outlaws' (featuring Richie Blackmore on guitar) captures the essence of Meek's obsession with Buddy Holly as well as a weird outer-space version of Rockabilly.   Most of the songs here were written by Meek, and as a songwriter, he's never consistent.  But his productions never fail.  Someone like Phil Spector is more consistent with quality, but every Meek record has a tinge of weirdness or eccentricity.   Which is one of the reasons why I like to collect Meek, both on CD and more importantly on vinyl.  I feel each recording by this lunatic expresses a sense of hysteria and desire.  Meek was very much of his culture of the 1950s, that he rebelled against by becoming an independent producer with his own studio - mostly built by his own hands.  The majority of his work is from the early 1960s, yet there is something distant and far away from his music for that era.   He was an artist that wasn't attached to the times, compared to The Fab Four or the work of Andrew Loog Oldham.  Meek is or was very much an outsider artist.

"The Joe Meek Story" comes with fascinating liner notes.  A small biography as well as a breakdown of all the songs selected for this compilation.   The one odd thing is mentioning the suicide (not in detail), and staying away from the fact that he murdered someone before shooting himself in the head.   Art comes with darkness, like life itself. 

V.A. - "James Bond Greatest Hits" Vinyl, LP, Compilation, UK, 1982 (Liberty)

As our deeper pleasures are being taken away from us, James Bond is a treasure of passions that are buried deep into the cinema goers consciousness.  The appeal of Bond is a man who serves a common good for his culture, but also never eliminates the joys of the flesh and the alcohol.  In other words, he has a win-win situation.   Most of us customers only have a win-lose-win something in our lives, and Bond can express one who has it all.  The treatment of the world is not based on fact, but on desire, and therefore seeing a Bond film is like being on a vacation.  But one that only lasts for two hours or so.   Equally important to the entire Bond package, is the music.  John Barry served his master (Bond) as well as to the customer.  It's hard not to hum or whistle the Bond theme or whatever the main title song was of that time of that particular Bond film. 

The truth is, the best part of a James Bond film is the first 15 minutes.  Here you get the action sequence that is usually fantastic, and then the great montage that announces the title, and of course, the mixture of Monty Norman's Bond theme, mixed in with Barry's music.   To be honest, one can leave the theater after the opening and be pleased like after having a great meal.  The rest of the product is tourism, women, fight scenes, and the character (each different by various actors playing Bond).  The next best thing after seeing the film is having the soundtrack albums.  In 1982, Liberty Records put together a great compilation of Bond theme songs as well as some of its wonderful incidental music used in the films.   My personal favorites are "From Russia With Love" by Matt Monro, with lyrics by Lionel Bart (one of the more fascinating characters to come out of the 1960s music world) and John Barry.  And of course, "Goldfinger" sung by Shirley Bassey, written by Anthony Newley, Barry, and Leslie Bricusse.  Which by the way, I strongly recommend that you find Newley's recording of "Goldfinger," because it's incredible.

There are other in-depth Bond compilations out there, but this one is a favorite because it was the first for me, and second, Barry and others have done their best work, regarding serving the master, that is James Bond. 

Buffalo Springfield - "Buffalo Springfield" 2 x Vinyl, LP, Compilation, 1973 (Atco)

The one word that comes to my mind when I hear the name "Buffalo Springfield" is frustration.  This is a band that should have gone to a higher level of greatness, but I suspect ego got in the way of the direction to go upwards.   Still, they left three albums that are very good, but this compilation of those three records are the best introduction to the Buffalo Springfield world.  

The beauty of the band was the perfect set-up or relationship between the dueling lead guitars of Steve Stills and Neil Young, and Richie Furay's superb vocals and rhythm guitar.  With the soul/Stax drumming of Dewey Martin, and who I suspect is the real star of the group, Bruce Palmer on bass.  Part of the sadness I feel is that this is a band that lost an opportunity of making a permanent presence on the stage.  What I have seen from one clip of them playing live on TV, is incredible.   The tension between the players reminds me of the original set-up of Television with Tom Verlaine and Richard Lloyd.  All play guitars, but at times it seems that they were having a communication between themselves, and us listeners were allowed to listen in.    The fact that Stills/Young tried to do something with the Springfield, and then with the terrible CSNY, and then the Stills/Young album/tour, well, I guess they tried.  The fact is these were two different type of musicians/songwriters, and I think they genuinely needed each other, to make their work more consistent and robust.   I'm not a fan of solo Neil or solo Stills, but when they combine their talents in Buffalo Springfield, it was magnificent.  The sad thing is that there is no film footage of them on stage, and worse, no live recordings.   Just hearing the extended version of Stills' "Bluebird" is fantastic.   One of the great guitar rave-ups in recorded history!

The band playing together was equal, but again, I think their recordings are a hit and miss.  The first album, produced by Greene and Stone, miss the intensity of the songs and their performance.  Still, "Mr. Soul" and "For What's it's Worth" are amazing records.  The other secret weapon is Richie Furay, who is an incredible singer.   Both in harmony and lead vocals.   And there should have been a full-use of the genius Jack Nitzsche, for instance, he should have arranged the entire works of Buffalo Springfield, not only on the Neil stuff but all the other material as well.   After the first album, it became a situation where each band member produced his composition and so forth.   So in a sense, you have a series of solo recordings within the Buffalo Springfield landscape.   

Buffalo Springfield was a super band, but due to its character, it burned itself out before doing something incredible.   This double compilation album is pretty great.  Still, I feel that there was more work to be done.  The story is not over yet. 

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!

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. 

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.

The Rolling Stones - "Flowers" LP, Vinyl, Compilation, Mono, Terre Haute Pressing, 1967 (London)

"Flowers" is an album that I never owned till very recently.  For the sole reason that I want every mono edition of their work in the 1960s.  For me, there's the Stones in the Oldham/Brian Jones years and then... there was another band that I'm not that much into.  "Flowers" is a compilation of their recordings roughly from 1966 to 1967.  I suspect to fix the odd song that didn't make it into their American editions at the time.  Or songs that were only released as a single. In a sense, this album is like the perfect mix-tape of that period in the Stones' world and activity in the studio.  

"Flowers" has all the odd Brian Jones touches on one disc.  Accordions, various keyboards and string instruments, it's Brian's playground of aural delights.  Andrew Loog Oldham, I feel added his textures as well.  His Phil Spector/pop music loving identity served the Stones well in this era.  Mick and Keith were writing (although it has been noted that Brian may have written the melody to "Ruby Tuesday") one great tune after another.  

The rhythm section of Charlie Watts and Bill Wyman were fantastic, in the same light as the classic Motown recordings around the same time.  They grooved hard, and Bill's bass playing is very aggressive and robust.  A musician that is muchly under appreciated.  The songwriting also had a strong Motown influence as well.   The Stones cover The Temptations' "My Girl, " and it fits well with their original songs. 

Often people of my generation like to compare The Beatles with The Stones, and the truth is, there is no comparison in sound whatsoever. The Stones may have been influenced by The Fab Four in bringing exotic instruments into the big picture, but I found The Stones more factory-made and focused on obtaining the hits, and I think Oldham's influence was a powerful presence in their songwriting at this time.  Once he left, the band as songwriters, became focused on other genres such as Country and classic soul.  This is here or there.  I prefer the older Stones than the band in the 1970s and onward. Still, "Flowers" is a lot of fun.  A great compilation album.