Tony Conrad - "Ten Years Alive On The Infinite Plain" 2 x Vinyl, LP, Album, 2017 (Superior Viaduct)

A combination of Violin, something called the Long String Drone, and of course, the Bass Pulse is a blissful listening experience.  Ambient it's ain't because the music makes the listener pay full attention.  A good work to play loud, and a groove maker it is.   Tony Conrad had put together a multi-media presentation called "Ten Years Alive On The Infinite Plain" in 1972, and this is the recording of its soundtrack or music at the world famous Kitchen in New York City. 

I can't speak for the event because I wasn't there, but the music holds up significantly due to its length, and the skills of the three musicians on this specific piece.  Laurie Spiegel plays what I think is a bass guitar, but not sure.  The liner notes are not that clear what she's exactly playing.  Rhys Chatham plays the Long String Drone, an instrument made by Conrad.  It is a drone instrument, but it has a bass type of sound as well.  So the combination of the Bass Pulse and Chatham's playing of the Drone has a strong rhythmic foundation backing Conrad's cluster full of droning notes. 

As most things called Minimalism, this is actually a maximum piece of work.  Pure in mind, but complex in its structure and takes a physical stance playing this music.   Conrad had done performances of this piece using various instrumentation, but alas, those shows were not recorded (as far as I know), so the opening or premiere is what this album is.  The ultimate headphone laying on the floor with a pillow type of music. I love it. 

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."

Public Image Limited - "Metal Box" 3 x Vinyl, LP, Album, 45 rpm, 2006/1979 (Virgin/4 Men With Beards)

For me, this is the greatest album from the post-punk era: PIL's "Metal Box."   The first Public Image LTD. album I thought was pretty good.  Way more interesting than the Sex Pistols.  I like how Johnny Rotten (Lydon) took it up a notch with his ability not playing to the fans of the Pistols.  He was going to explore new worlds, and through "Metal Box" he not only entered a new space but kicked the door to that area and entirely caused a large entrance, where one can't close that gate anymore.  

This is a band that couldn't do wrong.  Keith Levene a brilliant guitarist and Jah Wobble, who re-invented the bass for me, were a band that was the definition of perfection. It couldn't last.  And that's OK.  When I think the word 'original,' it apparently means this album and its package.  For my all thumbs style of opening anything more complicated than a can of beans, this album was a real test for me. It must have caused Virgin Records a series of nightmares that is probably still in their conscious years later.  Minimal with maximum results. 

The music is incredibly touching, I even come to tears time-to-time when listening to "Death Disco" (Swan Lake) and "Poptones."   Who would think a Sex Pistol would draw so many tears on my face? "Death Disco" with it "Swan Lake" melody sneaking into the hard mechanical funk is a wonder.  One of the great meetings between rock and classical music ever.  It's almost like a memory that is too powerful to forget.  For me, the album is about memory and how one digests the pain over the years. In that sense, it reminds me of John Lennon's first solo album "Plastic Ono Band."  Not only in sound, but it's emotion right on the top of the tongue.  

Thanks to Geo Blance, who out of the blue, sent me the new edition of "Metal Box" a few years ago. One of the great gifts ever. 

Scott Walker "Pola X" CD, Album, Soundtrack, 1999 (Barclay)

Scott Walker's film score to Leos Carax's "Pola X" is pretty magnificent.  For one, it's music of great taste.  Walker uses other artists on this score, and his choices such as Sonic Youth and Smog are excellent.  In fact, it's because of this album that I became aware of Smog.  Beyond that, the one cut "Light" may be the most beautiful piece of music from the 20th-century.  The melody is haunted, sad, and perfect for anyone in the loser mode at 3:00 AM.  My urge is to play this song over and over for 24 hours.  Which is not long enough.  

This is an excellent Scott Walker.  It's hard to find, and it really needs to be released.  From industrial to noise to 'that' beautiful work - it's Scott not singing, but clearly his instrumental work is equally as important as his singing or vocal work.   A great album. 

Pierre Henry - "Le Voyage" Vinyl, LP, Album, 1962/2013 (Doxy)

For the past two years, I have been picking up albums by Pierre Henry.  I have a fascination with the nature of electronic music or Musique Concréte.  The 'noise' have called out for me, and it's a hard habit to break.  "Le Voyage" is a big Henry project.  I believe it's music with dance choreographed by Maurice Béjart.  I know very little of this piece except that it's based on The Tibetian Book of the Dead, and it represents from birth to death.  Seems like a topical subject matter for a ballet and its score. 

As far as my ear can tell this is music that is entirely electronic.  No organic sounds processed through electronic means, but machines manipulated by Henry making music.   Some parts are almost ambient but with an intensity where you can't really ignore the music.  Toward the end, it becomes a majestic piece of noise that's an incredible ear wash.  I listened to this vinyl in a room with a very high ceiling, and the music just encaptures the landscape that is the room.  I don't know who Doxy is, although I suspect that this record company takes advantage of copyright laws in Europe. Still, they do a great job in curating album titles with great sound. 

The High Numbers (The Who) "I'm the Face" b/w "Zoot Suit" Vinyl, 7" 33 1/3, Promo (Mercury)

Before The Who, there were The High Numbers.  As far as I know, there are only two songs by The High Numbers, and they are "I'm the Face" and "Zoot Suit."  The Who went on to make great records, but if push comes to a shove, I prefer these early recordings by The High Numbers.  For one, they are strange.  It's RnB but with a druggy sexual edge.   The Who were never sexy to me, but these recordings expose a certain amount of Eros in their mix.  

Both songs were written by their manager at the time, Pete Meaden (1941-1978).  He's considered to be the Mod King.   Druggy with a life that was full of danger, his greatest invention was the early Who.  Both songs capture the Mod aesthetic perfectly.  Tight, controlled, yet bordering on the manic. An excellent record. 

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