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Showing posts with label Polydor. Show all posts
Showing posts with label Polydor. Show all posts

Monday, April 23, 2018

Cream - "Wheels of Fire - In the Studio" Vinyl, LP, Album, UK, 1968 (Polydor)


I recently purchased this copy of Cream's "Wheels of Fire" because it's my dream version of the album.  No live album came with it, this edition is just the studio recordings.   I loathe Cream live.  On the other hand, I adore their adventuresome studio sides.  For one, the magnificent "White Room" which is one of the great songs to come out of 1968.   I'm a huge fan of Jack Bruce's voice and songwriting talents at this time of his career, and his work with lyricist Pete Brown, as well as the tension between him and Ginger Baker, made Cream a fascinating band.  The only weak link is Eric Clapton, who greatly contribute his guitar work in the mix, but I never felt he was up there with Ginger and Jack.  

Of the three main Cream albums, Clapton is almost an invisible presence on the studio side of the double package.  He didn't write any of the songs, and if memory serves me correctly, nor did he sing lead on any of these songs.  Guitar yes, but what comes to mind when listening to the record is Baker's drum patterns, which to me is always like the waves hitting the coastline, but there is a natural rhythm, but always with a twist.   He also contributes three songs as a songwriter, co-written with Mike Taylor, who was a Soho London Jazzier, who tragically drowned in the River Thames in 1969.  The rest is Jack Bruce/Pete Brown, with two covers. 

The original songs on "Wheels of Fire" are superb. Bruce and Brown couldn't go wrong with respect to their material.  They are almost chamber pieces with Bruce doing a lot of overdubs or with the assistance of the producer Felix Pappalardi, who added Violas, for instance on "White Room."  The surprising aspect is the strength of the Baker/Taylor material, which is a tragedy that they didn't produce more songs.  Cream only lasted for two years.  They were the first super-groups, to become even more super, with the formation of Blind Faith.  Still, I marvel at their sense of adventure, mostly due to the Bruce/Baker team-up. 

Sunday, June 25, 2017

The Who - "Rarities Vol. 1 1966-1968" Vinyl, LP, Compilation, 1983 (Polydor)


Without a doubt the ugliest record design in my collection.  The fact is, I had to think for ten minutes to make a decision either way regarding purchasing this collection of Who B-sides.  Two songs here made the decision for me.  Their cover of the Rolling Stones "The Last Time" and "Under My Thumb."  Still, what bothered me greatly was the choice of the record label to use a portrait of The Who that was very much from the early 1970's when in fact, the actual recordings in this collection were made in the years 1966 -1968.  Little things like that bug me to no end!

If one forgets the cover, this is a great Who album.  B-sides have always been a fascination for me. I have enjoyed the A-side but have been consistently curious about what's happening on the flip side.  Very much like the curiosity regarding what's behind the door.   More pleasure has been found when I do play the mysterious B-side. 

For the past two years, I have been trying to locate the 45 rpm single of "The Last Time" b/w "Under My Thumb."  It's around but usually too far away (I rarely order items from overseas) or too expensive.   The Who recorded these two songs and put it out as a single as a support for the Stones who just got busted for narcotics in 1967.  The summer of love didn't mean that much in The Who world. The record is two voices of disgust, hate, and sour mood.  Which is usually a good combination for a good Who record.  The other highlight of this collection is that there are five John Entwistle songs on it. "Doctor Doctor" and "Dr. Jekyll & Mr. Hyde" are brilliant pieces of pop noise. The Entwistle songs are consistently amusing because the bass playing is aggressive, loud, and then there's the French horn in the chorus.   There are not that many French horns on a pop record unless it is something done by the Who's bass player.  And the Keith Moon manic drumming also shows up a bit louder on an Entwistle tune.  Kit Lambert's (and Chris Stamp's) production is muddy, chaotic, and always sounds best in Mono.  

It's extraordinary that I have heard the title "Dogs" in conjunction with The Who, but never actually heard this record for the last fifty years.  It's fantastic!  One of the great Townshend classics that somehow went way under the radar.   And also one gets what I suspect is the Keith Moon influenced Beach Boys/Jan & Dean tunes that are in this collection as well.   "Rarities Vol. 1"  is their best album after "The Who Sell Out."


Monday, April 17, 2017

Serge Reggiani - "Poètes 1" Vinyl, LP, Album, France, 1973 (Polydor)


One of my favorite figures from the French cinema world, who also happens to be a great singer.  To make a comparison, he reminds me of Bryan Ferry.  Not his identity or characteristics, but his voice. Ferry singing other people songs naturally make it is own, due to the limitations and tone of his voice.  Serge Reggiani is exactly the same.  Reggiani doesn't do the American songbook but instead tackles the poetry of Jacques Prévert, Victor Hugo, Charles Baudelaire, and Louis Bessières.   On "Poètes 1" it's bare music with a focus on the words.  My inability to understand French may limit me the enjoyment of this album, but that's not fully the case here.  Reggiani brings a sense of cool, but passion at the same time.   There is a long tradition of making songs out of poetry in France, and Reggiani is one of the greats to take on this medium.   There is "Chanson De Maglia" with music by Serge Gainsbourg.  How great is it to hear music with credit: written by Victor Hugo and Serge Gainsbourg.   I have three other albums by Serge Reggiani that features more Gainsbourg, but also Boris Vian material.  Reggiani is one of my favorite vocalists.  And not a bad actor!

Thursday, February 2, 2017

Morrissey - "Swords" (Polydor) 2 x Vinyl, 2009



I love Morrissey.  Without a doubt one of the great songwriters of the late 20th century and 21st century.  But is he consistent?  No.  Finding his brilliance one has to really check out the b-sides to his singles.  For instance, I do like his stand-alone solo albums, but it's the collections that are much more satisfying.  I'm not sure how or who decides what goes on the final album, or how he chooses what becomes a B-side and not on the A-side, but I find him at times, consistently wrong.   His "B" choices are excellent.

For me, the great classic Morrissey is "Don't Make Fun of Daddy's Voice," which when I first heard, I cried.  I haven't the foggiest idea what is in that song that made me tear up.  It could be the Daddy image or the passionate delivery of Morrissey's voice.  The song is poetic, with a significant amount of anger reflecting on sadness.  "Good Looking Man About Town" and "Christian Dior" have a novelist approach in nailing down a character's traits - but with Morrissey, it's a combination of a mirror image as well as a projection of sorts.

Credit should go to his band and his co-writers, who are credited for the music composition.  Whyte, Boorer, and Tobias fit into the Morrissey orchestra.  In a way, it reminds me of Duke Ellington's big band.  Each member can express their 'identity, ' but it has the Morrissey stamp as well.  "Swords" is my favorite Morrissey album.   A B-side may be the throwaway material, but for that reason alone, I love it more.

Monday, August 26, 2013

Bee Gees - "Idea" CD Album




Bee Gees – Idea
CD Album, reissue 1989
Polydor

There are two golden eras for the Bee Gees. One is the “Saturday Night Fever” era of the 70's and then there's the first three albums by the Bee Gees in the '60's. Perfect baroque pop production with songwriting skills of a trained ear. All that plus the addition of the vocal skills of the Gibb brothers added up to a seductive package that couldn't possibly fail, and it didn't. What I find missing is a sense of genius or that one step beyond, that someone like Scott Walker did or even The Beatles at the same time and place. But this I can't fault the band, because what they do, they do it extremely well.

The quivering voice of Robin Gibb adds a great deal of 'personality' to the songs that he sings lead on. It is that series of moments for me that strikes me as that this is a personal take on whatever the subject matter of the song is. Whatever it is by design or just DNA, Robin was a magnificent singer. Barry and Maurice can't be faulted in the voice area at all, but when I rear Robin a light goes on in my ear, and it brilliantly shines on the material.

Idea conveys a sense of promise or adventure that serves Bee Gees well. Their form of pop is more majestic than say the baroque small chamber sound of the band Left Bank. But I would think that it would be impossible to dislike a Bee Gees song from this period (or any period really, but that's another essay) because their work has a vision and it follows through due to the talents of the Gibb brothers. 

Thursday, June 20, 2013

ABBA - "More Abba Gold"





ABBAMore ABBA Gold
CD, US 1993
Polydor

If ABBA's Gold the lightness, then More ABBA Gold is the poison leaked from that supposed happiness. On repeated listens, this can be the most depressing album ever. Or just a romantic mood about to fall over. Songs like The Day Before You Came list the hours before finding perhaps Mr. or Ms. Of one's life - but there is something so banal and depressing about it all.

The genius of Benny Andersson and Bjorn Ulvaeus' music and words is that its music for the every person, but to acknowledge such romantic dreams and failure turns it into an operatic theater piece of sorts. Its beautiful and full of surface feelings, but if you dig underneath their image, you'll find a certain amount of despair. ABBA is so unique and one with its time. Essential pop that doesn't really speak for its era (the 70's) but in its own time-warp. ABBA reminds me of some outside artists who make up their own world and there is our world and then there's ABBA's world.