Various - "Twentieth Century Blues: The Songs of Noël Coward" CD, Compilation, 1998 (EMI)

Noël Coward always represent a different time, even a different world to me.  I know his works mostly through his plays because I think they're great.  I was introduced to his music due to the Brit-Pop era.  Who would have thought that Suede would be a perfect vehicle for a Coward song?  The truth is I sort of became fans or at least admired Suede and Robbie Williams due to their work here on this compilation of Noël songs. 

This album is very much a snapshot of the British music world of 1998.  Suede, Williams, Damon Albarn with Michael Nyman, the Pet Shop Boys -it yells out an era to me, that puts focus on another time in music and cultural history.  It's one of the reasons why this is a very good album.   First, of all, it is really truthful to the Coward aesthetic in that all the arrangements on this album are true, not to the times, but the feeling that Noël's songs convey to an audience.   Coward wrote incredible love songs of great yearning, but also to listeners who were going through hard times due to the war and the economy of the World War II years. 

The album is very much of a Neil Tennant (Pet Shop Boys) project.  Not all the songs share the same producer or arranger, but everyone here captures the essence of Coward's work.  The big surprise for me is Robbie Williams' take on "There are Bad Times Just Around the Corner" is uber-pop, but tinged with a large amount of dread and concern.  Yet, like Coward, very uplifting at the same time.  There is something very passive/aggressive about Coward's work.  There are humor and joy but tinged with sadness.  Suede's "Poor Little Rich Girl" actually sounds like a Suede original, in fact, a lot of the songs here are a perfect fit for the artist and song.   Another standout is The Divine Comedy's "I've Been to a Marvellous Party," which turns into a techno workout.  Yet, fits perfectly with the song.  The whole album is very well-thought out, in that it shows the roots of Coward's work in that era's (1998) time.  

Tracklist Hide Credits

1	–No Artist	Introduction Contractor [Orchestral Contractor] – Isobel GriffithsProducer – David Hartley*Vocals – Neil Tennant	1:07
2	–Texas	Parisian Pierrot Engineer – Kenny MacDonaldPerformer [The Band] – Ally McErlaine, Eddie Campbell, Johnny McElhone, Richard Hynd, Sharleen SpiteriProducer – Johnny McElhone	3:39
3	–The Divine Comedy	I've Been To A Marvellous Party Piano – Joby TalbotProgrammed By, Electronics [Electronica] – Steve Hilton*Vocals – Neil Hannon	3:39
4	–Paul McCartney	A Room With A View Engineer – Eduardo PequeñoFeaturing – Slick Willie GuitarPerformer [Band] – Mellow T. Ron And His Mood MenProducer – Paul McCartney	2:07
5	–Pet Shop Boys	Sail Away Engineer, Mixed By – Pete SchwierProducer – Pet Shop BoysProgrammed By – Pete Gleadall	4:31
6	–Shola Ama With Craig Armstrong	Someday I'll Find You Bass – Chris Laurence, Mike BrittainCello – Cathy Giles, Paul Kegg, Tony Lewis (2)Cello [1st] – Martin LovedayContractor [Orchestral Contractor] – Isobel GriffithsEngineer – Andy Bradfield, Rupert CoulsonHarp – Skaila KangaHorns – Hugh SeenanHorns [1st] – Richard WatkinsKeyboards, Programmed By – Stephen HiltonMixed By – Andy Bradfield, Craig ArmstrongMixed By [Assistant] – Ricky Graham (2)Oboe – John Anderson (4)Producer, Arranged By [Orchestra Arranged By], Conductor [Orchestra Conducted By] – Craig ArmstrongProgrammed By [Additional Programming] – Richard NorrisViola – Bob Smissen, George Robertson, Katie WilkinsonViola [1st] – Peter LaleViolin – Alison Kelly, Boguslav Kostecki*, Dave Woodcock*, Dermot Crehan, Mike McMenemy*, Perry Montague-Mason, Peter Oxer, Rolf Wilson, Vaughan Armon*, Wilf GibsonViolin [1st] – Gavyn WrightViolin [Leader Of 2nd Violins] – Roger Garland	3:39
7	–Robbie Williams	There Are Bad Times Just Around The Corner Engineer – Pete GleadallEngineer [Assistant] – Matt GregoryMixed By – Bob KraushaarOmnichord – Brian EnoProducer, Performer [Played By] – Neil Tennant, Pete Gleadall, Tom Stephan	4:36
8	–Bryan Ferry	I'll See You Again Arranged By – Colin GoodEngineer, Mixed By – Ash HowesProducer – Bryan Ferry, Robin TrowerProgrammed By – James Sanger	2:40
9	–Marianne Faithfull	Mad About The Boy Arranged By – Bill GeldardBass – Simon Benson, Tom Martin (2)Bass [Bass Guitar] – Andy PaskCello – Gillian Thoday, Justin Pearson, Michal KaznowskiDrums – Ian ThomasEngineer – Dick Lewsey*Guitar – Colin Green (2)Mixed By – Bob KraushaarPiano – Geoff EalesProducer – Carl DaviesTrombone – Neil SidwellTrumpet – Guy Barker, Simon GardnerViola – Levine Andrade, Roger Benedict, Steven Wright (5)Violin – Chris Bevan, Clive Dobbins, Dermot Crehan, Iain King, Jo Frohlich*, Michael Davis (5), Mike McMenemy*, Pan Hon Lee, Paul Willey, Sue HendersonWoodwind [Reeds] – Dave White, Pete Ripper	5:18
10	–Space (4)	Mad Dogs And Englishmen Performer [The Band] – Frannie Griffiths*, Jamie Murphy, Leon Caffrey, Tommy Scott*, YorkieProducer – Simon Denny, Space (4)Trombone [Session Musician] – Neil SidwellTrumpet [Session Musician] – Steve Sidwell	3:10
11	–Suede Featuring Raissa*	Poor Little Rich Girl Engineer [Assistant] – Ben GeorgiadesEngineer, Mixed By – Bruce LampcovProducer – Bruce Lampcov, SuedeVocals [Guest Vocals] – Raissa*	7:12
12	–Sting	I'll Follow My Secret Heart Engineer, Mixed By – Simon OsbourneHarp – Skaila KangaProducer – David Hartley*, Sting	2:33
13	–Damon Albarn With Michael Nyman	London Pride Arranged By – Michael NymanContractor [Musicians Contractor] – Isobel GriffithsEngineer – Ben Kape, Jason Cox, Tom GurlingPerformer [Musicians] – Michael Nyman Band*Producer – Damon Albarn, Michael Nyman	4:42
14	–Vic Reeves	Don't Put Your Daughter On The Stage Mrs Worthington Arranged By [Strings, Assistant] – Jon BailyArranged By [Strings] – David ArnoldBass [Bass Guitar] – Vic ReevesCello – Anthony Pleeth, Cathy Giles, Dave Daniels*, Paul Kegg, Philip De Groot*, Tony Lewis (2)Contractor [Orchestral Contractor] – Isobel GriffithsDrums, Percussion – Pablo CookEngineer – Neil Tucker, Rupert CoulsonGuitar – Roddy FrameProducer – Antony GennRecorded By [Strings] – Geoff FosterViola – Bill Hawkes, Katie Wilkinson, Peter Lale, Rachel BoltViolin – Benedict Cruft*, Bill Benham, Boguslav Kostecki*, Dave Nolan*, Dave Woodcock*, Dermot Crehan, Eddie Roberts (2), John Bradbury (2), Maciej Rakowski, Mike McMenemy*, Peter Oxer, Rebecca Hirsch, Roger Garland, Rolf Wilson, Wilf GibsonViolin [1st] – Gavyn WrightWritten-By [Music Written By] – Antony Genn, Vic Reeves	4:57
15	–Elton John	Twentieth-Century Blues Alto Saxophone – Jamie TalbotAlto Saxophone [Solo Alto] – Andy MacintoshBaritone Saxophone, Clarinet – Dave BishopBass [First] – Chris Lawrence*Bass Guitar – Steve PearceBass Trombone – Dave Stewart (2)Cello [First] – Anthony PleethContractor [Orchestral Contractor] – Isobel GriffithsDrums – Ralph SalminsFlute – Jamie Talbot, Stan SulzmannMixed By – Bob KraushaarProducer, Piano, Arranged By [Original String Arrangement] – David Hartley*Tenor Saxophone – Iain Dixon, Stan SulzmannTrombone – Mark Nightingale, Peter Beachill*, Richard Edwards (2)Trumpet – Derek Watkins, John Barclay, Steve Sidwell, Stuart BrooksViola [First] – George RobertsonViolin [First] – Gavyn WrightVocals [Intro And Outro Vocals] – Neil Tennant

Marianne Faithfull - "Summer Nights" b/w "The Sha La La Song" 45 rpm Single, Vinyl, 1965 (London)

I have always been attracted to Marianne Faithfull's "Summer Nights."  It's a song about a feeling or a seasonal change.  Her approach is folk but filtered through a London aesthetic that was happening at the time.  The harpsichord is the first instrument one notices, and the chorus of the 'at a cafe' with the hand claps gets me all the time.  It's a beautiful record on many levels.  And so short.  Only one minute and fifty seconds.  It comes and goes, like a strong crush on a girl you see walking down a street.  Also, the pitch and speed march on, it's not a song of reflection, but manic intensity.  The chorus is a relief of the tension.   I have read somewhere that The Smiths used to cover this song as part of their live act, at the beginning of their career.  Now, that I would love to hear.  

Bob Lind - "Don't Be Concerned" Vinyl LP Mono

Bob Lind – Don't Be Concerned

Vinyl LP Mono, US, 1966

World Pacific

As an 11-year-old, I could care less about “Elusive Butterfly” which was pretty much tattooed on AM radio during 1966. Now that I am 63, I can't get enough of Bob Lind and this album. For one, I always loved Marianne Faithfull's version of “Counting” not realizing it was a Lind song. I bought this album only because, for at the last ten years, I became a fanatic Jack Nitzsche fan. Noticing that he produced and arranged this album – well, I had to give the Bob Lind world a more serious listen. But I was warned about the upcoming storm due to Jarvis Cocker and Pulp's recording of a song “Bob Lind.” So to me being the ultimate Pulp and Nitzsche fan, it was time for me to dive into the pool of Don't Be Concerned.

The first thing that strikes me is the delicate arrangements that cling to Lind's music and voice. Nitzsche just had the talent to take a piece of music and make it better. The beauty of a song like “Counting” which moves in a pattern that reminds me of (Buzzcocks) Pete Shelley's circular list songs – it moves in circles that strikes me mechanical, but that is what makes it such a great song – both the Lind and Faithfull's version. The other great song is “Cheryl's Goin' Home” which is incredible.

The pleasure I get from Lind is the tension or the marriage of his folkish background meeting the pop master's (Nitzsche) approach, which equals a sweet little 'wow' for me.