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." 

T. Rex -"T. Rex" Vinyl, LP, Album, Reissue, Remastered, 1970/2016 (Reprise Records)

Where have I been for the last 40 or so years? I purchased "Electric Warrior" and "The Slider" numerous times over the years, yet, I somehow missed "T. Rex."   I just recently purchased it, and this album is incredible.   At the moment it's my favorite T. Rex album, and to hear something new from a band that I thought I knew... And to be honest I don't know the recordings Bolan made with Steve Took - so that's another avenue I need to explore.  But now...  What impresses me about the album is the songwriting is superb, as well as the performance.  The minimal sound of Bolan's guitar work, but with the added textures from Tony Visconti's production, is a great combination.   In fact, I think this may be Visconti's best work in the studio, sound wise.  Sun Records is surely the model to study from, and Bolan, Mickey Finn, and Visconti studied very well under the beauty of that Memphis label.   Also noted the king of the big sound (for Queen among others) Roy Thomas Baker was the engineer.  

Also, as far as I know, I don't think there are any drums on this album, just percussion work from Finn.   Yet, the sound is full, and Visconti's tasteful use of strings here and there is a loving campanion to Bolan's croon.   If like me, and you overlooked this album, get it now.  Bolan is the real deal. 

Sparks - 'Mael Intuition: The Best of Sparks 1974-76" CD, Compilation, 1990 (Island)

I was living in Japan in 1989/1990, and I purchased a lot of CDs at the time.   I bought the Sparks compilation of their first three Island releases "Mael Intuition" because I didn't bring any Sparks' music from Los Angeles with me on this particular visit.   At the time, I didn't even know if I was going back to Los Angeles, due to visa issues and finances.  Nevertheless, due to my budget, this was one of the great buys in Japan.   Released in the UK and Europe, "Mael Intuition" focused on the albums, "Kimono My House," Propaganda," and "Indiscreet."  Interestingly enough, there are no b-side songs on this collection, which is a mystery to me, because all were excellent.  

For a lot of long-term fans of Sparks, or those of that generation,  this is probably the best introduction to their work, especially focused on when they were on Island Records.  First of all, there is no such thing as a bad Sparks' song or album.  So, with four decades of music, there is a lot to choose from, and most are in print, or not that difficult to find used or new.  Still, I would disagree with the subtitle saying this collection is the best of Sparks 1974-76, because there are essential Sparks' songs that were released as b-sides at the height of the Island years, and for all purposes, it should have been included in this compilation.  On the other hand, it's a great snapshot of what makes Sparks so fantastic.    Also, if I wasn't thousands of miles away from my Sparks' albums back in Los Angeles, I would never buy this CD.  It's the distance from home, and I wanted a memory, or at the very least, have some excellent music in my new world. 

Within two years or less, Sparks made huge jumps from "Kimono" to "Indiscreet."  A band that never gave the listener the same thing twice, yet their sound was always Sparks because that is within their DNA.  Ron Mael and Russell Mael (and their band) worked in an environment that had no outside influences, at least nothing obvious.   There are traces of music hall music, or bands like Move, that one can hear within their world, but Sparks manages to twist their songs into something that is not only unique but with incredible original melodies.  I'm sure one can find 'another song' in Ron's songwriting, but I personally can't find it.  It seems that their originality is always based somewhere inside their (Ron and Russell's) collective mind. 

Sparks to this day make perfect music, and yet, for history sake, one looks back to the Island years as of one of great importance.  It's interesting to note,  that there are no songs from "Big Beat" on this compilation because in the UK there were four Island albums, not three.  Whatever it's record business mishaps or a creative choice, the three original albums make sense in a stand-alone 'greatest hits' album.    The changes between the albums are not great, but it's the joy of its subtle differences between the three albums that make this collection a perfect joy.   For me, I run into people who don't know Sparks' music at all, which of course, is a sin.  On the other hand, I find "Mael Intuition" a very good welcome mat to the Sparks' world for these new listeners.  There are quite a few compilations of Sparks music out there in the world, but they may be too large for a new listener.  This, of course, is a subjective choice, but if one can't pass this collection, then I have no hope for them. 

Les Rita Mitsouko - "The No Comprendo" CD, Album, France, 1987 (Virgin)

In 1987, I was visiting my friend Erik Blum in his studio in Los Angeles, and he played this album by Les Rita Mitsouko, and I was immediately transformed into a  hardcore fan.  At the time, or that first listening experience, I thought to myself T Rex meets Sparks, but singing in French.   It's a very confining album made by a couple, who were totally self-contained.  And with help and assistance from Tony Visconti.   Somehow a friend of mine made me a VHS tape of their videos off this album, and that was another little explosion that went off in my body. I must have been the only person in the United States that had a copy of all their videos at the time.  I have never seen such a visually appealing and seductive band like Les Rita Mitsouko.  In two words: Catherine Ringer.

Ringer is what one would call "the real deal."  She's the gift that keeps on giving.  I want to say she resembles or perhaps even influenced by Edith Piaf, but that's wrong.  I think she is even better than Piaf!  This woman can walk across a room and cause an emotional riot within me.  For me, she represents everything that is good regarding a musician and the perfect set of songs.  "No Comprendo" is perfection as practiced by a skilled duo (with her husband the late and great Frank Chichin) with the right attitude, and performance (of what I have seen on numerous live videos) that is perfectly made out of our elements.  She's too good to walk among us, humans!

"No Comprendo" is a combination of chanson and synth-pop, with rock overtures.  Catherine and Frank played most of the instruments, with the help of Visconti, and Ringer's vocals are exceptionally heartbreaking, fun, and of course, erotic.  Ringer, who worked with Sparks and told Serge Gainsbourg to fuck off is clearly a hero of mine.   Why Ringer is not the biggest star in the English speaking world is beyond my brain.   In three words:  I love her. 

T. Rex - "T. Rextasy: The Best Of T. Rex, 1970-1973" (Warner Brothers) Vinyl 1985

A compilation or even a best of an album is making soup.  The ingredients have to be there, but you have to taste it to make sure that all the herbs and spices work together to give you that 'ah-ha' moment.  "T. Rextasy" for me, is the perfect meal that is T. Rex.   My two favorite T. Rex albums are "Electric Warrior" and "The Slider."  As his work goes, and he made a lot more albums before and after those - give the classic T. Rex sound and aesthetic.  What makes "T. Rextasy" so good is that it's an album of great pieces, and selected very well for a one-disc record.  There are the hits of course, but more important the obscure songs are brought out to the listener.  Which means b-sides to singles and great tunes like "Solid Gold Easy Action" and Marc Bolan's version of "Summertime Blues."

Bolan was never a consistent record maker, especially after Tony Visconti left the fold, but his genius was always right on the button.   The Visconti touch is very much part of the recordings greatness, but Bolan had that 'it' quality that I think his material would have been great no matter who recorded him.   His love of 1950s rock, and mixed in with the glam sensibility is the perfect marriage.   Also, Bolan's ridiculous lyrics are incredible literature.   Again, like a great chef, he mixed Tolkien fairy tales with cars and an Eddie Cochran attitude.  A winning recipe of superb college making and aural pleasure.

The Arnold Corns - "Moonage Daydream/"Hang On To Yourself"/Man In The Middle" Vinyl 7 single

The Arnold Corns – Moonage Daydream/Hang On To Yourself/Man In The Middle

Vinyl 7” Single, 45rpm, Unofficial Release, 1978

B&C Records

The Arnold Corns was a project that David Bowie started with Mick Ronson and his dress designer Freddie Buretti as the lead singer. Well, that's the concept, it was pretty much Bowie with Ronson before Honky Dory album. The real rarity here is “Man In The Middle” which is a song I never knew about till I bought this single. Its very Man Who Sold The World  but clearly its not Bowie singing lead, I can hear him on back-up vocals. Valentino is credited as the singer, so it is either Rudy or maybe even Freddie. Nevertheless its not the best Bowie composition, which is maybe why he has buried this record and never re-released it like the other two songs on this single. 

http://youtu.be/vrS7sBDkkgQ

"Man In The Middle"

http://youtu.be/KsH95qmmr9g
"Moonage Daydream (Arnold Corns Version)

http://youtu.be/Fh4ufr_CkUs
"Hang Onto Yourself" - Arnold Corns