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. 

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!

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.

Magazine - "After The Fact" CD, Album, Compilation, 1989 (I.R.S. Records)

For me, the band Magazine is or was the foundation where a lot of post-punk bands based their aesthetic on - especially Radiohead and The Bad Seeds.   It's very much an orchestrated sound surrounding the vocalist and lyricist Howard Devoto.   Therefore a real band where each member of the group contributes to the overall sound that embraces Devoto.  Think of it as a heist job where criminals get together to rob a horse betting track or a bank.  Each member of the gang is crucial in making sure everything works out together.   In turn, I think Magazine were influenced by Roxy Music.  

"After the Fact" is a compilation album of their 45 rpm singles and b-sides.  Magazine issued singles that were separated from the albums.  Not sound wise difference, but often the single wasn't on the 'official' album.  Perhaps they were the last traces of the 60s mentality of the importance of the 45 rpm single, and that it was a different medium.   There is not a bad cut on this album.  Magazine were a fantastic 'singles' band.  

Devoto singing "Goldfinger" is the perfect fit.  At one time, the group wanted to be produced by John Barry, which makes perfect sense with respect to their aesthetic.  Not in a campy way, because Magazine doesn't do 'camp.'   More to do with the John Barry sound of mixing strings with the voice. It's a shame that they never had the opportunity to write and produce a James Bond theme song. Nevertheless in the world of Magazine that are so many treasures to explore.  Also if the song is on the album, usually it's a different recording.  For example, "Shot by Both Sides" is an entirely different recording.  I believe the single, their first recording, didn't have any keyboards on it.   So if you do buy this album, you really don't have to worry about getting repeated tracks, except for their late single "About the Weather" and "A Song Under the Floorboards." 

"A Song Under the Floorboards," "Upside Down," and "Touch and Go" are Magazine classics.   The classic lineup of Barry Adamson, John Doyle, Dave Formula, and guitarist John McGeoch couldn't be better.   "After The Fact" came out after the band broke up, and it was a series of moments that became perfection, practiced by a gang of visionaries. 

Various - "The Best of James Bond" CD, Album, Compilation, 1992 (EMI)

There are great John Barry compilations out there that focus not only on his James Bond work but the music he wrote for other films and even TV commercials.  On the subject of Bond, this CD package is my favorite.  It's a double disc set, with CD 1 focusing on the major Bond themes throughout the years, and the reason I purchased this particular copy is that of CD 2. 

The second CD is songs that didn't make the grade or instrumental suites put together for the incidental music scenes in the Bond films.  For example, the one masterpiece here is Anthony Newley's version of "Goldfinger."  I'm going to get shot for writing this, but I prefer Newley's version than the great Shirley Bassey.   Minimal with a jazzy/British beat, Newley conveys the villain's world as if he was a member of the Kray gang.  Perhaps this is my favorite Newley moment of them all.  And he made some impressive sounds/visuals throughout his short (died way too young) career.  The other great song on this collection is Louis Armstrong's "We Have All The Time in the World."   A Hal David lyric with Barry melody and then adding the great and aging Armstrong vocal, it's a moving performance.  Also noted is Bassey's "Mr. Kiss Bang Bang."   Also are radio spots for "Dr. No" and "Thunderball."  This collection is perhaps the best thing out of the Cold War era.  

John Zorn - "Naked City" CD, Album, U.S., 1990 (Nonesuch)

When I was living in Japan in 1989/1990, it was impossible to go to a good music store and not run into a large John Zorn section.  Zorn at the time had a Japanese label and was living in Osaka.  Me, having a lot of time on my hands, started to investigate the world of Zorn, which is (and still) like jumping into Alice's rabbit hole.  One never knows what they will find at the end of that hole.  The one CD I purchased was Zorn's "Naked City," which is also the name of his all-star band.  Fred Frith on bass (mostly known as a guitarist), Bill Frisell on guitar, Wayne Horvitz on Keyboards, and Joey Baron on drums Zorn on sax, with the Boredoms' Yamatsuka Eye on vocals.   At the time, I thought this would be a good introduction to the world of John Zorn, and I still think it's a great starter to the Zorn aesthetic. 

"Naked City" is a mishmash of different music styles.  Listening to the album for the first time is like going from one neighborhood to another and not being able to distinguish the differences between the areas, due to the speed of the journey.   Ultra hyper, noisy, and extreme melodic beauty all at the same time.   I never really heard music like this before, and hearing it in a foreign (at the time) land added a unique sense of intensity for me.   The very first Zorn album I purchased was in the 1980s, and it was his tribute/take on Ennio Morricone's music.  This was my first introduction to the world of Morricone, so it's interesting to be introduced to the iconic Italian genius through the medium of another genius Zorn.  

All the pieces here are short, and a burst of energy.  Even Georges Delerue's "Contempt" theme which is a beauty of a melody is done at a faster pace.   I have seen the Godard film but was never aware of the music piece till I heard this recording.  Now, I'm obsessed with getting any version of this melody on vinyl.  That with the theme of "Batman," The James Bond Theme," Mancini's "A Shot in the Dark," and the great "The Sicilian Clan" by Morricone.   Zorn, without a doubt, introduced me to the world of soundtracks.   The Morricone tribute album opened the door, and "Naked City" nailed me down for life. 

The Zorn compositions on the album are soundtracked based, but with distinct experimental or free jazz traces, but still held consistently by the insanely tight playing by the band.  So here you have music of great beauty, punk rock, experimental, and free-form jazz, with a touch of noise, courtesy of Eye the vocalist.   A great album with fantastic graphics (normal with Zorn's recordings) and for me, a wonderful introduction to not only to Zorn's compositions and playing but to the deep-end world of soundtrack music.  

The Damned - "Eloise" Vinyl, 12", 33 1/3, 1986 (MCA Records)

"Eloise" is one of the great songs from the last century.  I don't have the Barry Ryan original recording, but I do have this 12" mix/version of the song by The Damned.    Time-to-time I walk into a room, and someone is playing a best of The Damned album, and it's like "why don't I have the entire catalog from this band?"   That I don't answer for nor will I go into it in this particular post.   One thing I do know for sure, The Damned has good taste.   They do the song with great pomp, but respect to the original as well.   It must have been hard to believe that a band starting out with "New Rose" (another incredible record) had somehow led to "Eloise."   Plus the fact that they further their good taste by doing a great version of John Barry's  "Beat Girl."    A record can't get more fun. 

Adam Faith - "Lonely Pup" / "Greenfinger" 45 rpm Vinyl

Adam Faith – Lonely Pup / Greenfinger

45rpm vinyl single, UK, 1960

Parlophone

Dreadful Christmas single from the genius John Barry and Buddy Holly obsessed Adam Faith. But the B-side Greenfinger is amazing. Mostly due to John Barry's arrangement, which is hynotic with dark overtures. Faith does his best Holly vocal imitation, but of course it is not his voice that makes the record. This is totally the work of the arranger, and it overcomes the singer. Also I am very much attracted to the Parlophone record label design. The logo of the name is very cartoonish, and I tend to think about that than the music. Nevertheless for the Barry obsessive, this record is of course a must.

Adam Faith (and John Barry) - "Adam" CD Album, Mono & Stereo

Adam Faith – Adam

CD album, Mono & Stereo, 1960

EMI

When I hear this album I feel like I fell in a time-wrap but that specific time doesn't really exist. The main interest for me is that Adam is arranged and conducted by the great John Barry. Even if I sang on this album, it would be interesting! But to be fair to Adam Faith, he does have an intimate way of singing. But I get the impression that he came in after everything is recorded and he's just following directions on a sheet of paper. But actually hearing this album is a surreal experience, because it is two albums in one. As I mentioned the Barry arrangements are right in your face, and then the vocals seems to be an afterthought. But Faith is an interesting cat. He was in the business in all its positions. He was a teen star, actor, a manager and eventually an investment advisor – not a very good one. But he's a lad who made out OK.

So on the surface I don't like this album, but there is something that attracts me to the music. And it maybe due to my appreciation of British music history and people like John Barry. A dream world for me, and listening to this album puts me in world of not my making, but one that I can imagine. Even though Barry and Faith more likely won't recognize that world.