Johnny Thunders - "So Alone" Vinyl, LP, Album, Reissue, 1978/2014 (Drastic Plastic Records)

It's hard to separate the image of Johnny Thunders, the very model of him, and his music.  When I listen to a Thunders recording, whatever it's a Heartbreakers or New York Dolls, the image of the Junkie is very well defined in our world.  Which is a shame, because it hides the fact that Thunders is an outstanding songwriter.  One should never bury their vices, but when it becomes the only subject matter when it comes to Johnny Thunders, you're losing the full motion picture and sound.

"So Alone" is the first 'solo' album from Thunders, and he's backed from Steve Jones and Paul Cook from the Sex Pistols, and more interestingly Peter Perrett and Mike Kellie from the band The Only Ones.  Another semi-tragic songwriter of sorts, Perrett is a perfect mirror image of the Thunders angst and pleasure.  The root of Thunders is, of course, The New York Dolls, which is a band that is about the history of rock n' roll, Rhythm n' blues, and various girl groups from the 1960s.  And of course a touch of The Kinks circa 1964/1965.   Thunders don't move from this core on his solo recording, because this is the music that he breaths in and out throughout his life. "So Alone" is a fantastic album, because, at the time, it cuts all of his interest on one disc.  

The album is co-produced by Steve Lillywhite, who worked with a lot of great British artists in the post-rock years of the late 1970s such as Peter Gabriel, XTC, early Ultravox, Siouxsie & the Banshees, and of course U2.   Lillywhite captures the Thunders magic, by not doing anything slick or mechanical and frames the Johnny aesthetic as if it was a retrospective than just an album.  The music covers NY Dolls, Heartbreakers, and choice covers to give a portrait of Johnny, at his most muscular stance to honoring not only his songwriting but the aesthetic that goes with his territory.  The first two New York Dolls, and the early Heartbreakers, and then "So Alone" is an excellent package to get. A vital artist who stated not only the image of rock n' roll but also the poetic almost dandified stance that goes with that (Thunders') world. 

Alex Chilton - "Like Flies on Sherbert" Vinyl, LP, Album, Reissue, 2010/1979 (Vinyl Lovers)

There is music that brings sunshine to one's life, and then there is something like Alex Chilton's "Like Flies On Sherbert" that expresses an inner terror.    The world, in a sense, is a very organized series of relationships, that when one gets up in the morning, it is a high percentage that you will make out OK to get to bed that evening.  "Like Flies On Sherbert" conveys a life that is not in that motion.  One wakes up and faces a series of disasters, and how one dodges the bullet by the end of the way, depends on how you win out in the end if you are not damaged that badly.   This recorded mess of an album is a masterpiece. 

Big Star's third album, was a record expressing Alex Chilton heading in a direction in life that there were no guarantees that things will end up OK.   "Like Flies On Sherbert" is more of a mental state than a piece of music.   Its Southerness is of the gothic variety, and Chilton is one of the great figures of the South, in my opinion, in the same territory as William Faulkner or Flannery O'Connor.  The fact that the album cover is an image by the great photographer William Eggleston, gives this album a special nod to a culture that is both beautiful and rotting at the same time.   The music here, as played, is like the best food on the planet, but rotting in the back of a fridge, that is not always plugged in. 

Like Big Stars' "Third Album" this is a recording that has a few different editions and song selections.  The one I 'm commenting on is the album that was released by Vinyl Lovers in 2010 and includes four extra songs or bonus cuts.  Nevertheless, it fits into this aural madness.   Chilton's first official solo album is not a country or garage rock album, but hardcore Rockabilly.  Not nostalgic rock n' roll, but Rockabilly as a modern piece of music.  It has strains of The Legendary Stardust Cowboy or Hasil Adkins, then say Elvis Presley at Sun Records.   This is not about the music performed as tightness, but blown-up in a careless manner.   It's the audio equivalent of Gustav Metzger's work as a visual artist.  Alcohol never sounded so dangerous and crazed than "Like Flies On Sherbert."

The album is half originals and half covers.  The covers are mostly obscure rockabilly songs or deep country music.  The one surprise here is a cover of KC & The Sunshine Band's "Boogie Shoes." The original pieces of music on this album are minimal but carry much emotional weight.  The sexuality is wreckless such as "Girl After Girl," "My Rival," and "Hey! Little Child."   Being in the gutter and looking up at the stars, or even death can be a positive light.  One of the great albums of all time. 

Mick Karn - "Titles" CD, Album, Reissue, 1990/1982 (Caroline)

Bass playing in my listening experience is not always, but usually distinctive to a specific player.  Mick Karn, I can identify within a few seconds of his playing. For one, he plays a fretless bass, and the way he treats melodies is like containing water by cupping your hand. It will slowly leak out, but the essence of the taste of the cool water will stay with you.  Karn's playing works in the same fashion.   It throbs with sexuality, and it is almost like hearing someone crying.   Karn was a member of the band Japan.   His bass playing for that band was essential to their overall sound.  David Sylvian the lead singer and writer for Japan never really changed that much in his solo recordings, except maybe be more experimental in its overall sound.  Still, when I hear the Sylvian solo release, I think, where is Mick?    And when I listen to Karn's solo recordings, I think "where's David."  In truth, or whatever their problem was, they needed each other.  The original band should have never broken up, even though I do enjoy the solo recordings by both artists. 

"Titles" is the first solo Mick Karn album.   One would not expect that much because he's not known as a composer or songwriter, but still, the bass playing is the essence of everything he did.  The truth is "Titles" is a very good album.  Ambient in parts, and totally exotic sounding throughout the record.  It reminds me of David Bowie's "Low," in that Karn gives in to the instrumental side of the world.  The album features members of Japan (except David of course), but it's mostly Karn doing all the overdubs and it's great noise.  Spiritual in a pop sensibility way, the album is Karn stretching out his muscles and brain.  His death from Cancer was a terrible tragedy.  As I mention, the bass playing is very individual practice, and with him out of the picture, we lost a unique and brilliant musician. 

John Entwistle - "Smash Your Head Against The Wall" Vinyl, LP, Album, 1971 (Decca)

The first cut, "My Size" yells out 1971 classic rock.   The chunk-chunk guitar cords and Entwistle's voice sounds like it is recorded in another room, is classic riff-rock.  My favorite parts of a Who album are always the John Entwistle songs.  When Pete gets spiritual, John is more interested in rock n' roll issues like revenge, violence, and in a spiritual mode, how to recover a night of drinking.  "Smash Your Head Against the Wall" is the ultimate solo bass player's solo album who belongs to a major band.   And remember John wrote "Boris the Spider" the best Who song ever. 

"What Are We Doing Here?" is the song for musicians who are on an endless tour.  I imagine John wrote this between groupie and drinking sessions where one gets on a reflective thinking 'woe me" state of mind.  The truth is I'm making light of his lifestyle, but under the humor and rock n' roll behavior is a great songwriter.  To call him and Keith Moon the rhythm section is slight, due that both lead players on their instruments.  As Noel of Oasis fame had commented, if not in exact wording, that The Who is a band that has a lead singer, and a lead guitarist, but also a lead Bass player as well as the lead drummer.  That is an accurate description of The Who. 

Entwistle's first solo album is him playing everything except guitar and drums.  His arrangements are excellent, especially what he does with the horn section.  Not exactly like a soul horn section, but more of a British toot-toot horns, and it's very useful on these set of songs.  "Heaven and Hell" is a magnificent piece of work, and "Ted End" is one of Entwistle's great underrated songs.  Worth the price of this album.