Lewis Furey - "The Sky is Falling" Vinyl, LP, Album, 1979 (RCA)

Lewis Furey is one artist that is hard to follow due to the obscurity of his recordings and most of his work is in France.  This French Canadian somehow missed his mark in the United States, even though he was signed to A&M Records during the mid-1970s.  The fact is I purchased most of his albums as cut-outs at the time, and when I went to Japan in 1989, I re-purchased them as CDs, due that some Japanese music company purchased the rights to distribute and re-release the entire A&M catalog for the market there.  One of the reasons why I'm devoted to Japan is due that they released Lewis Furey albums in that country. 

"The Sky is Falling" is the third album by Furey, and it is similar to the first solo album in that John Lissauer produced and did some of the arrangements for both records.  Furey is a combination of many talents that reminds one such as Lou Reed and Leonard Cohen for example,  yet not like them at all.  Their resemblance is based on their observation lyrical skills, with some musical overtures.  The one connection between Cohen and Furey is Lissauer, who also produced/arranged the Cohen recordings of the late 1960s and early 70s.  Furey is very much had his feet in the musical theater, as well as writing French Chanson songs in English, that tells a narrative that is usually sexual and there is a strong off-Broadway aspect to his work.  "The Sky is Falling" was only released in Japan and France, and it's a fascinating collection of songs.  Some were meant for a theater piece, but the other songs match perfectly with respect to mood and location.  "Thieves" is a show-topper of a chorus, and the beautiful song that ends side two "Ordinary Guy" is a French composition that's translated and adopted by Furey.  He's an artist that should be better known, and especially for those who are fans of Leonard Cohen.  I feel that they are missing a creative link here. 

John Cale - "Helen of Troy" Vinyl, LP, Album, Reissue, 2015/1975 (Wax Cathedral)

My favorite John Cale album from the Island Records era.  What I find appealing about his work, is more of his arrangement skills than his compositions.   For instance, I think Lou Reed is a better songwriter than Cale, but it's the talent of Cale to bring out the best in Lou Reed's songs.  That's the beauty of the early Velvet Underground recordings.  The same goes for his work with Tony Conrad as well.   This is not saying that Cale does not come up with wonderful songs, but for me, it's the way he puts the music together that I find his greatness.  

"Helen of Troy" is the third of the three Cale solo albums that were released on Island records, and it's the one where I feel he's working on a huge canvas for the first time on that label.  "Helen of Troy" is very a Cale sampler, and I mean that in a very good way.  You have the orchestrational Cale ("I Keep A Close Watch") and the gritty/electro "Engine" and the title song, but again, it is how the layers all the textures together that only a superb arranger can accomplish.  His version of The Modern Lovers (he produced their first and only album) of "Pablo Picasso" is pretty great.  That, and Jimmy Reed's "Baby What You Want Me To Do" are the perfect bar band sound that only can be placed in a saloon run by David Lynch.   

Cale is an artist of great taste and skill. The fact that he produced The Stooges, Nico, Squeeze, Patti Smith and The Modern Lovers shows that he was either in the right place at the right time, but more likely he had the brilliant touch to know what's important.  A very sophisticated taste, and "Helen of Troy" is nothing but, an album of great style, grace, anger, and brilliant arrangements.  "My Maria" is a perfect example of all of his skills placed in one song.  Here on this album, you have the grit to latter-day Beach Boys harmonies.  This is the best!

Lou Reed & Metallica - "Lulu" 2 x Vinyl, LP, Album, 2011 (Warner Brothers)

Probably due that I'm a regular type of consumer, who follows a brand name, but eventually turn to other interests.  For sure that's within the category when it concerns the solo albums made by Lou Reed.   Like thousands, I have read the great disappointment or disapproval of Lou Reed hooking up with Metallica to make "Lulu."  Which is a work that is based on the German playwright Frank Wedekind's "Lulu" cycle: "Erdgeist" (Earth Spirit, 1895) and "Die Büchse der Pandora" (Pandora's Box, 1904).  The two works focused on the character Lulu, who a young dancer and sexually active in her social circle.  This work is considered to be the foundation for German decadence and expressionism in the early 20th century.  Visualize and captured on film by G. W. Pabst, starring the iconic, smart, and beautiful Louise Brooks.   Alban Berg also made and compose an opera on "Lulu" in 1937.   This is a no-brainer subject matter for Lou, but Metallica?  

"Lulu" had the worse reviews and comments from both Lou and especially from Metallica fans.  They say its vulgar, or over-long, or Lou just riding on his reputation.  The truth is "Lulu" by Lou and Metallica is a masterpiece.  Without a doubt, it is one of the great Lou Reed albums like "Berlin," Street Hassle," and "Transformer."  And that includes the Velvet Underground albums as well.  It's hard for me to analyze the sourness of the critics regarding this album, but I think they didn't really listen to the record; instead, they're just commenting on what they 'think' is a proper Lou album or not.  

"Lulu" is very much into your face with the sheer volume and intensity, as well as the length of all the songs on this double vinyl album.   The songs themselves are beautiful.  Metallica offers a wall of guitar riffing that's majestic as well as being close to a drone hypnotic sound.  The electronics that filters through the mix and layers of sound adds a dimension to the riffs that one can separate the textures, so for me, it's a recording that sounds different to me in each different listening experience. If one likes the riffing of "Sweet Jane" or "White Light White Heat," I can't imagine one not liking the exquisite "Iced Honey" or the intensity of "Dragon."  "Lulu" is very much an angry or aggressive aural experience.  In essence, it reminds me a bit of David Bowie's "Blackstar," or the later works of Scott Walker, where you get the impression of naked fury or acceptance of how things turned out.  The fact that this is Lou Reed's last album project is an interesting gift to the public before bowing out on this physical world.  "Lulu" is an emotional ride for me, and it may be due to my aging process, or just the nakedness of the anger that is so articulated in the mind and voice of Reed.  "Junior Dad" the last song on the album, is over 19 minutes long, and it is one of his best songs.  Reed is relentless in portraying the dad as a major disappointment.  One can see this as a personal statement about his relationship with his father, or a commentary on the role of the dad in our culture.  I suspect both.  If "Lulu" is a failure, I hope more artists will get to this level to deliver such 'disappointment," because I'm bored with the commercial music market these days.  "Lulu" is like a spring bath where one meditates on the evils of the world, and you get it out of one's system.   Art working at its best.  

* I also made commentary on Lou Reed and Metallica's "Lulu" on my "Tosh Talks" program.  You can see it here:  https://youtu.be/2-BqJGdjvVU

The Velvet Underground - "1969" 2 x Vinyl, LP, U.S., 2017 (Republic Records)

In the glory days of the music world, there would be releases from record companies that have nothing to do with time or space.  Just product.  I by chance found this album "1969" by The Velvet Underground, and I have to imagine that it's a combination of the 1980's release of "VU" and "Another View" which is basically putting everything out under the Velvet's recorded catalog of the time.   Now, Universal music has put together these two albums as a double-album set on vinyl.   Three-sides are the Velvets with Doug Yule in the line-up, and side four is when John Cale was in the band.  Probably somewhere between White Light/White Heat and the Third album.  There are no liner notes explaining the reason for this album, so it's very much of a rush-released piece of product. "1969" is also a great compilation of Velvet Underground tracks that never made it to the final works (albums).  

The truth is The Velvet Underground couldn't do anything wrong from the years 1966 to 1970.  Lou Reed was on the top of his songwriting powers, and even throwaway songs like "Foggy Notion" are magnificent.    When I listen to these set of songs decades later, it strikes me how original his approach to pop/rock songwriting was at the time of these recordings.  For one, (both line-ups) the band was fantastic, with Moe Tucker's dynamic primitive drumming, with the combination of Lou and Sterling Morrison's guitars going in and out of their arrangements.  Then you have someone like Yule with his backup vocals, or Cale's viola riding on the rhythm, and you have this tremendous noise that's The Velvet Underground. 

There are no weak cuts on this four-sided package. All of it is essential if you are a Lou or Velvets fan.   The cover/packaging is boring but the sounds inside the package are going to take one to other worlds. 

Lou Reed - "Berlin" Vinyl, LP, Album, Reissue, 2008/1973 (RCA)

Lou Reed's "Berlin" has some of his greatest songs, but as a narrative concept album, it's weak.  Side one is perfect, but the other side's pace is slow, almost an after-thought than anything else.   The beauty of Lou Reed is that he was very much of an artist who wanted to do something new on the next record.  The previous album "Transformer" is a masterpiece, and I think the last of his work that had traces of his years in The Velvet Underground.  "Berlin" is very much 1973 Lou, and what's interesting is that at the time of this recording of the album, he never been to Berlin.  So it's an artist's projection of a city and culture that he only got through second-hand channels. 

Berlin has always been a mythological metropolis to me. I went there in the 1980s when the wall was still up.  I liked the city, but I was disappointed that Sally Bowles wasn't around nor Bertolt Brecht. In other words, I totally had a "Berlin" in my head that no longer exists.   And on top of that, Berlin reminded me in parts, of Los Angeles, my hometown.   So when "Berlin" came out, I totally saw this project as a documentary or something Lou had experienced first-hand.  Then again, the role of the artist is always to do illusionary magic, and the album is very much an illusion as well in parts, a magnificent pop album.  

Besides the iconic Lou Reed vocals and lyrics, the album features the aggressive bass playing of Jack Bruce.  "Berlin" is one of my favorite 'bass' albums.   It's always thrilling to hear Bruce's work, and I think on this album he did a magnificent job.   Like Jah Wobble or Mick Karn, Bruce was a very strong bassist, who was equally unique in his playing or sound.   The other great thing about the album is the overall production by Bob Ezrin.   Overproduced and making the music sound like a huge production with full orchestra, powerful drumming (Procol Harum's B.J. Wilson and Aynsley Dunbar), plus the twin guitars of Steve Hunter and Dick Wagner, this was a group of musicians who played huge on the aural soundtrack.   In a certain style, "Berlin" has an operatic quality of being bigger than life, and that's a plus for this album. 

In theory, it would have been great if the album was just an EP of the first six songs.   Side two is just over emotional and almost a bad taste Christmas card.  Still, it's an important Lou Reed album, in the context with the rest of his recordings. 

Lou Reed - "Street Hassle" Vinyl, LP, Album, 1978 (Arista)

My favorite solo Lou Reed album is "Street Hassle."   It's the one album for me where Lou portrays the 'public' Lou Reed that we know and sort of love.   I may be wrong, but I feel that this is the last solo record where Reed is portraying a character.  His albums afterward, are basically Reed looking at the world as a first-person narrative.  Almost like a journalist covering his landscape in a John Cheever mode, or at the location of the gates of hell.   For instance, when he wrote and record "Berlin" he never at that time been to that city.  So, in a sense, the solo Lou is very much of a world that he made up, and put himself in as a character. 

The Velvet Underground years are spotless.  Full-on Lou genius work.  The solo career is a hit and miss, but when he's great, he's really fantastic.  "Street Hassle" is interesting to me because he's playing with the sound of the studio or the live recording.  This is such a murky sounding record that if it is a 3D object it would be mud or a heavy dish of food.   Aurally I think of Lou digging from the bottom to the top to get air, and there is something very closed off like one is locked in the basement, and one is really trying to break a hole to get light/air.  

The songs themselves are fantastic.  "Real Good Time Together," I think is an old Velvet's era song, and if memory is serving me correctly (always doubtful) it was on a live Velvet's album.  Nevertheless here it's a minimal piece of music, that builds to a tension, that eventually breaks loose.  A lot of the songs are arranged in that fashion.  The album's set piece is "Street Hassle," which is in three parts, yet still very contained narrative and the music arrangement is very tight.  The strings arranged by Aram Schefrin is minimal minded, that has a touch of Philip Glass/Steve Reich intensity. There is also a Bruce Springsteen uncredited cameo as well. 

The other song that sticks out is "Dirt."  Very direct, angry, catchy and wonderful.   This is very much bad-ass Lou Reed in his prime.  It's interesting to note that Reed's partner-in-crime, both Iggy Pop and Bowie also released ("Low" and "Idiot") compressed sounding records around this time (1977/1978).  There is an aesthetic link between these three albums.   Not sure if they were aware, or it was something in the air at that time.  Still, "Street Hassle,' the album,  is a remarkable piece of work.  

Ian Hunter - "Ian Hunter" Vinyl, LP, Album, 1975 (CBS)

The great team that should have done more music:  Ian Hunter with Mick Ronson.  On the other hand, this is my favorite Mott the Hoople without the Hoople.  I think "Ian Hunter" is Ian Hunter's best album.   The first side of the album is like a mini-opera.  I don't believe there is a narrative here, but the way the songs flow on side one is remarkable. "Once Bitten, Twice Shy" is just classic almost minimal glam rock that goes for the throat.  Mick Ronson's arrangements are never show-off practices but always serves the song.  That's the beauty and talent of Ronson.  His work with David Bowie is very known, but whenever he adds his presence on other recordings, for instance, Lou Reed's "Transformer," it is always fantastic, and he doesn't upstage the star.   In other words, the perfect Captain to the General (Ian Hunter, Bowie, Lou Reed, etc.look at the song in an objective manner).

Ian Hunter is a great meat and potato songwriter.  There is nothing fancy, but what makes him interesting is that he rocks hard, but has a strong pop mentality.  "I Get So Excited" is very much the framework of a classic Ian song.  The chorus is almost ABBA like, but within a rock n' roll frame.  Ronson, I suspect looks at the material like a surgeon or architect.  He knows how to get the parts to work together.  Ronson can write good songs, but his strength is to objectively look at the song.   

Side two of the album is not as dynamic as the first - and it's interesting that on the back cover, they list the sides as Part one and Part two.  Not side one or side two.  And the album feels that way in a sense.  Very much a work that fits into the medium of the vinyl record.  Side one ends with "Boy" which is over 8 minutes long, and it's a tour de force for Hunter's writing (with Mick), but also Ronson's brilliant orchestration.   A song one can presume is about Bowie, but...  

John Cale - "Fear" Vinyl, LP, Album, Reissue, 2015/1974 (Wax Cathedral)

When John Cale left Velvet Underground, I lost track of him. It wasn't until  1974 when he released his first album "Fear" on Island Records that I became aware of him again.  I did notice that Cale made solo albums before "Fear," but never paid much attention to them.  It may be that I was totally focused on Lou Reed, thinking that he was the Velvets in all name and practice.  That of course, is wrong, and due to my young teen years, almost forgivable.  "Fear" is great.  

In the years 1973/1974, for me, it was the glory time of Roxy Music and all of its outshoots.  Eno was making incredible albums, and I like all the solo work by Phil Manzanera and Andy MacKay as well. And of course, there were both Roxy and Bryan Ferry albums as well.  Fun times at the record shop.  Someone at Island had the grand idea to promote a Roxy world by adding Kevin Ayers, Nico, and of course, John Cale to their label.  Eno and Manzanera are listed as executive producers, which means to me that they pushed the label into signing Cale, but also a big part of the sound that is on this album.

"Fear" is a very stark album, with the mix high on Cale's voice and minimal backing, in a sense it is never busy.  The right sounds at the right places.   When I listen to this album, I think of Procol Harum's great albums on A&M around the same time.  I can't say if they were an influence on Cale, or he admired them or not, but I hear Gary Brooker (the lead honcho in Harum) presence on "Fear."  The thing about Cale he comes with the baggage of the noisy aspect of the Velvets, or experimental/orchestration, but he is also a very much disciplined and well-crafted songwriter. "You Know More Than I Know," "Buffalo Ballet," and "Emily" are excellent songwriter type of songs. "Fear" and "Gun" is more of the sonic "kaboom" of Cale.  "Gun" especially, which I have to presume it's Eno making the guitar sounds through his various methods of genius tools at the time.   An inspiring album made in an exciting place with exciting musicians.  A highlight for Cale and the Eno/Manzanera world. 

Lewis Furey - "The Humours of :" CD, Album, Reissue, Japan, 1976/1990 (A&M)

This French Canadian (now living in Paris) is an amazing talent and songwriter.  I had the vinyl back in 1976 but lost it through the ages.  This is his second album and although the material is basically the same, the production by Roy Thomas Baker is huge.  Huge as in over-production, and treating the songs here as Broadway tunes.  The first album by Lewis Furey is quieter, yet theatrical, but in an off-Broadway manner or in a small theater.   

Furey reminds me a bit of John Cale's solo recordings with a mixture of early Lou Reed.  Furey's songs tend to have street life tattooed on his aesthetic, but with a Bertolt Brecht distance and one gets the feeling he's writing a narrative than saying something out of his personal life.  It's interesting that I found the first and second album in Tokyo in the 1990s  At the time it seems that A&M released all their 1970s titles into the CD format for the first time.  It was like going to Tower Records in the 70s.  

I love Furey's music.  Although I do have a problem with the production, it still is a fantastic album.   The way "Cop's Ballet" emerges into   "Rubber Gun Show" is a great opening for an album/CD.  The songs are all catchy, and again, I suspect Furey is writing a musical, although I don't feel there is a running narration, it still feels like a Broadway or big budget show.   CD is very difficult to find, but the vinyl comes up once in every little while.  Get it. 

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

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

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

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

LEWIS FUREY - "Lewis Furey" (A&M Records) Vinyl, 1975

I picked up on this album when shopping at Moby Disc on Ventura Blvd, and it stood out in the cut-out bin.  I was kind of surprised to see something worthwhile in that section of the store - although, now we have sort of the romantic memory of finding gems for 99 cents to $3 in this section, mostly it was a horrible drudge.  Nevertheless, Lewis Furey's eyes spoke to me.  When I flipped over to see the back cover, I was impressed that there was a song on it called "Hustler's Tango."

I sense a glam Velvet Underground vibe, so what the hell, worth the $1.99 or so.  When I got home and played the album, that very instant, it became one of my all-time favorite albums.  The cover and the song title didn't lie.   Here was a guy who has the John Cale genius for arrangements, and seemed to have one foot in the music of the theater world, and the other is .... kind of gay-oriented pop, but with dark overtures to the night world.  There's accordion, piano, banjo - which gives it Brecht/Weil orientation, yet very American sounding.  Which is strange from a musician/songwriter from Quebec Canada, and now lives in France.

The album is co-produced and arranged by John Lissauer who also served the same duties on Leonard Cohen's "New Skin for the Old Ceremony" and "Various Positions" as well as the classic Cohen song "Hallelujah."   There is a strong connection between Furey and Cohen -not only sound wise, but both write songs that are very poetic, yet direct.   For those who love albums or artists who are beautifully orchestrated and arranged, will love this album.  Why, Lewis Furey fell between the cracks here in the U.S. (he's known in France, but also in Japan) is beyond me.  This album needs to be re-released.  Beautiful melodies, stark lyrics, street wise, and witty.

Many years later, after losing most of my vinyl collection due to past economic situations, I was deeply surprised to see his first two albums on CD, displayed in a music store in Tokyo.  Truly one of my happiest moments when I discovered the album again, and just waiting for my hands.   You must Locate, and buy it!

British Electric Foundation - "Music Of Quality & Distinction Volume 1"

British Electric Foundation - Music Of Quality & Distinction Volume 1

I-Tunes, British, 1981

Virgin

For a brief time in my world, Heaven 17 were a very important band.   For one I was totally caught up in their juxtaposition of politics and pure electro-pop music.  To me they were an updated version of folk-music from Greenwich Village New York, but with suits and keyboards strapped on.  Also I liked their concept that their parent company was or is called British Electric Foundation, that sort of issues the Heaven 17 brand.  At the time they were in theory sort of the more commercial version of Public Image LTD.    One of the projects from the British Electric Foundation was their Music Of Quality & Distinction series, and this being number 1.  

When I got this album, I was totally intrigued on numerous levels.  On one level, it is Heaven 17 with interesting cast of characters doing their favorite songs.  But knowing their political point of view, I also saw it as a political statement of some sort, which to this day is very vague.  Nevertheless this album recorded in 1981, features songs from the ’60’s to the early ’70’s.   The ’70’s work being David Bowie and Lou Reed songs.  So there is a glam aspect to the package, with Reed, Bowie, and having Gary Glitter (the king of  glam?) doing an Elvis cover.  

I get the feeling that B.E.F. chose their artists for this album for both musical reasons as well as a cultural iconic stance.  A statement of some sort.  Tina Turner’s recording of “Ball of Confusion” started her even bigger career in the ’80’s and also brought forward ’60’s icon Sandie Shaw as well to the soup that is this album.  The Shadows’ legendary guitar player Hank Marvin plays on “It’s Over,” the great Roy Orbison song, here sung by the equally fantastic Billy MacKenzie.  

The talents of Ian Craig Marsh and Martyn Ware (with their singer Glenn Gregory) made an interesting observation on music-past.  All the song selections are very much in-tuned to the world of Human League as well as Heaven 17 (of course).    A fascinating record of its time that still sounds good.