David Bowie - "Metrobolist (Nine Songs By David Bowie)" Parlophone, 2020

 

In our reality, David Bowie is Elvis Presley. Not only do they share the same birthday and both recorded songs called "Black Star," but also in death, their music is released and looked as new. Tony Visconti, a significant figure in Bowie's career and music, has done a series of classic Bowie work remixes. One may think this is nothing but exploitation or a grasp to make more money in the memory of David Bowie. The truth is, Visconti has done magnificent work as a remixer as well as the original producer of these recordings. It's an artist (as producer) going back to his canvas to clean or refresh the imagery on one level. "Metrobolist" (Nine Songs by David Bowie)" is such a work. Most of us fans and consumers know this album as "The Man Who Sold The World," but it seems that wasn't the original title that Bowie given this record. At the last moment, the label changed titles without Bowie's knowledge at the time. 

"TMWSTW" has always had a muddy sound that made the songs heavy and mono-orientated sounds. It's like someone taking a shovel of mud and throwing it in your face. My first reaction to the album in 1972 was that this is a hard rock record compared to "Hunky Dory," his next album at that time. It's obvious to a listener in the early 70s can see Bowie worked from a broad landscape of different worlds sound-wise. "TMWSTW" is a great album and will always be an essential recording from a legendary artist. Including the contributions from Mick Ronson and Visconti knew how to take Bowie to the next level. "Metrobolist" is a mirror reflection of that album but cleaned up and allowing more textures to be added for the supreme listening experience. 

Nuances show up, more than 'ah-ha' moments while listening to "Metrobolist." The vocals have a touch of more echo. Still, the drums' presence mixed to another volume is especially lovely, and hearing the layered guitars from Ronson and the acoustic guitar work from who I think is Bowie. The Moog is also clearly heard in these new mixes. When you hear "Metrobolist," I hear or more aware of the arrangements. It sounds like a work from a band (Visconti, Bowie, Ronson, drummer Mick Woodmansey, and Ralf Mace, who is credited for the Moog playing and Mick Ronson) than a solo artist. 

"The Supermen" is incredible here, with the galloping drums by Woodmansey. If you're a Bowie fan, this is a must-hear or buy. Beyond that, both albums are superb, and now both in print. The world is a better place with "The Man Who Sold The World" as well "Metrobolist." 

David Bowie - "Is It Any Wonder?" Vinyl, EP, Limited Edition, 2020 (Parlophone)

A six-song 12" EP is another must-have if one is a David Bowie fanatic. Bowie is resembling after-life as a version of Elvis's reissues. Still, the quality is high, and I wonder if it is even possible for Bowie to make a truly bad record?  The answer is no!   The songs here are not totally new, but they are recent recordings made between 1995 and 1998, during his come back, quality-wise, after his "Outside" album and the next underrated "Earthling" recordings.    There are two songs from Tin Machine "Baby Universal" and "I Can't Read," as well as "Stay" from "Station to Station," and "The Man Who Sold The World."  The new songs (at least for me) are "Nuts,' which sounds like the technique of bass n' drums of "Earthling," but has the darker mood of a selection from "Outside." The other tune "Fun (Clownboy Mix)" is not familiar to me.   The song has a nice flow, in fact, the entire collection melts from one song to another.  

This EP is not a rehash but a fresh approach to some of his older songs or re-thought out in a manner for his electro-rock aesthetic at the time. Nevertheless, it's classic Bowie and does show the talents of Reeves Gabriel (now in The Cure) and Mark Plati.  Both contribute a lot to the mixes and their fingerprints on the work come up splendidly.   The Bowie estate is really doing a nice and thorough job in putting out these releases.  When you can, I suggest you buy "Is It Any Wonder? on the Rhino website, here: David Bowie Is It Any Wonder?

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.  

The Beatles "Revolver" Vinyl, LP, Album, The Beatles in Mono Series, Reissue, Remastered (Parlophone)

I already have the original American Mono edition of this album, which has fewer songs than the British version.  I bought the new remastered / reissue mono "Revolver" mostly out of boredom while waiting for a bus in Pasadena, and I was nearby the great Canterbury Records store on Colorado Boulevard.   For new year's day, and in a quiet series of moments during the early evening, i put this album on the turntable with my headphones on my ears.  It wasn't like visiting an old friend, in fact, I haven't listened to this album for some years. More of a meditation on what seems so perfect, and marveling what must have been so new in 1966.

"Revolver" always struck me as a violent title for an album.  Especially considering how John Lennon died years later, yet for some reason, I now see the title in a new light or awareness.   I think of it more as "revolve" as in moving in a circle on a central axis.   As one grows older they change, in other words, they revolve as in a verb.  Yet, it's a clever title, because most of us will think of the title as a revolver gun.  I have to imagine it was John Lennon who thought up of the title as a pun of sorts. Then again it could have been Ringo!  Nevertheless, this is an album in motion.  Their next album "Sgt. Peppe"r strikes me as a beginning, middle, and end.  Revolver just keeps turning round and round, with no start or no stop.  

"Revolver" may be the first proper 'modern'  power-pop format album. The guitars, the aggressive but melodic bass playing (by Paul) is upfront and always driving the song.  Also, incredible piano playing throughout the entire album as well.  Not sure if it's Paul or George Martin handling the keyboards, but it's an essential part of the overall sound, and especially when you included Indian instrumentation here and there.  Their previous album "Rubber Soul" is the first Beatle album to sound grown-up, and "Revolver" is made by wise men who tasted life in their own time-frame.  It exposes the inner world of 1966 than say the news of the day or time.  "Taxman" by Harrison is a bitter song about of course, the rich man's number one hatred 'paying taxes.'   Harrison's songs are always odd because at one point it can deal with spirituality and then make a sharp turn about the bitterness of romance or being pissed off about taxes.  I suspect the average Beatle fan in 1966 could care less about the tax issues among the wealthy.  Still, Harrison was an amazing songwriter when he was good.  "Taxman" is a funk machine of sorts that is mechanical in format, but driven by it's seductive (not necessarily sexual) rhythm.  

The only song that makes me frown is "Yellow Submarine" not due that it's a bad song, because it's not horrible, but just tattoed on my brain from so many years ago.  I never need to hear that song again.  On the other hand "Here, There, and Everywhere" is like butter melting on a hot biscuit, it's a perfect melody word combination that is classic Lennon/McCartney.   "Tomorrow Never Knows" is the perfect ending or beginning of "Revolver."  As mentioned, the circle is completed but I feel it can go on until one has enough of the album.   I reviewed the American edition, writing that it's an old friend that one doesn't need to really revisit anymore.  Hearing the full British version (and in mono) the album is not new, but I realize the delights that come up on "Revolver" is consistently fresh (except for "Yellow Submarine") and one just marvels at the tightness of the playing and the brilliance of George Martin's production.  

Morrissey & Siouxsie - "Interlude" CD single, 1994, (Parlophone)

When I heard this recording back in 1994, I didn't know the song.  I usually know all of Morrissey's cover songs, because I feel we have a common taste in music.  His obscurity is my front yard.  Nevertheless, "Interlude" was a total mystery.   Not only the source of the song, but the haunting melody and lyrics were dreamlike and didn't seem possible to exist in the waking world.  It was a decade later that I found the original recording by Timi Yuro, and once heard, I couldn't stop playing her recording.  It was the theme song to a film that I never saw, and tough for me to locate.  Yuro has numerous best of albums, but "Interlude" never seemed to be in these collections.  

I'm not a fan of Siouxsie Sioux's voice.  I just never warmed to her goth aesthetic or her band's music.  When I read in the music papers that Morrissey did a recording with her, I thought it was an odd choice for him to do such a recording.  "Interlude" is very goth in its sense of romantic misery and doom.  I immediately loved the record and Morrissey's right-handed musician (to this day) Boz Boorer did the arrangements and production. This was also the first record where I thought of Morrissey as a singer rather than a cultivated pop star.   Now, I think of him as an underrated singer.  Over the years he has gotten better and better as a vocalist.  As he aged, his voice became an instrument that can only be him.  

The original "Interlude" is a much better record, but it's also a  classic piece of song craft written by Georges Delerue.   Timi Yuro's interpretation cannot be made better, yet, Morrissey and Siouxsie do add their magic touch to the song. 

David Bowie - "Live Nassau Coliseum" 2 x Vinyl (Parlophone)

What an odd occurrence to purchase this live album today, that was recorded on March 23, 1976, at the Nassau Coliseum - and today's date is March 23.  I didn't realize that till I was half-way listening to this record.   So that is one surprise, the other shocking thing to me is that I never heard these recordings before. I know it's on the recent boxset that came out last year, as well as part of "Station to Station" package that included the original album as well as this live recording from the same period.   The third 'sort of' surprise is how much Bowie was influenced by American Black music.   Of course one hears it on "Young American," but for some weird reason, I never thought about it regarding the "Station to Station" album.

There is a strong funk element to these songs.  I have always thought that the material was 'rock,' as the foundation that has 'funk' or 'soul' touches, but I was totally wrong.  "Station to Station," the album, is very much a soul/funk work with rock touches.  'Word on a Wing" is a classic soul ballad, and of course "Stay" is a funk workout with these incredible textures mixed in with the overall sound.  The live recording of this album is very different from the studio versions.  The band here is fantastic.  

Carlos Alomar on rhythm guitar, Stacy Heydon on lead, George Murray on bass, Tony Kaye (one prog rock guy) on keyboards and the great Dennis Davis on drums.  They are not credited on the album sleeve, although Bowie acknowledges them on the disc/concert.   A good purchase for one's Bowie collection. 

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.