Bruce Palmer - "The Cycle is Complete" Vinyl, LP, Album, 1970/2010 (Verve Forecast)

With respect to the Buffalo Springfield, there are those who greatly admired Neil Young, and his solo recording career and others liked Steve Stills, or if you are a connoisseur, Richie Furay.  For me, I prefer Bruce Palmer, the bassist in Buffalo Springfield, who in most cases refused to be photographed with the Springfield, and was on live TV with his back to the camera facing the band.  To me, that was punk rock before punk rock.   Palmer had a mystique that the others in the band didn't have.  When he left the band, I think due to a pot bust, one would think he disappears into the mist.  And he did. Except in 1970, he released a solo album.  "The Cycle is Complete" is very much an improvised work, with soulful singing from Rick James.   Stong congas playing by Big Black, who at the time was considered to be the king of Congas and played with Thelonious Monk and Sun Ra.  Palmer handles the bass and guitar, also a violinist Templeton Parcely who played with the band Kaleidoscope.   Four songs that are more mood pieces made for late night listening.  There's an Indian or Eastern influence, which is not uncommon for music made in the late 60s or early 70s. In actuality, the Bruce Palmer album is my favorite Buffalo Springfield solo album. 

In parts, it reminds me of Miles Davis "In a Silent Way" in that there is a quiet groove that goes through the album.  It is also interesting that the record was engineered by the legendary Dave Hassinger who did the classic Stones cuts at the RCA building in Hollywood.  For those who have a taste of adventure, this is a good album for you.  I'm not sure if Buffalo Springfield fans will like it, but they should.  It is really the best solo album from that group. 

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. 

Jun Togawa (戸川 純) - "Suki Suki Daisuki (好き好き大好き) Vinyl, LP, Album, Japan, 1985 (HYS)

Without a doubt one of the great albums from the 1980s, and a work that is still as fresh as the first day of spring.  For one, the production does yell out the 1980s, but like Sun Records is from the 1950s, this is almost a militant version of that era.  Jun Togawa is a vocalist that is very difficult to explain because she is a rare artist that goes beyond her limitations of the pop (Japanese) world.  Most Japanese pop music exists to please, but there is something dark and disturbing about the Togawa sound, which is hyper-emotive and one feels traces of Bi-polar expressions within its groove.  

One thing that is very noticeable is that a Jun Togawa recording is very unique.  There is nothing like it in this world.  To make comparisons is always a fun sport, but I'm not sure if comparing her to other artists would be accurate.  Saying that "Suki Suki Daisuki" has traces of French Yé-Yé sound, but updated to the 80s, and she does cover Serge Gainsbourg's  "Comment te dire adieu," yet it sounds very much like her own material.   The song is sung in Japanese, and I'm not sure if it's just translated lyrics from French to Japanese, or she may have written her own words to the song.  The sound is more Togawa than Gainsbourg, yet respectful of the original melody/song.  

She also does a beautiful, but a bizarre cover of "Angel Baby" the great Rock n' Roll ballad of the 1950s originally recorded by Rosie and the Originals.  The original version is a fantastic time-piece of out-of-this-world pop, and Togawa does this song in English, that reminds me of Yoko Ono if she did a cover of this song.  I'm not saying that due that they are both Japanese women, but their voices have a similar vocal range.  Togawa can go for the lower notes to the highest, and she is an amazing singer. In the nutshell, I think of her work as a combination of Sparks, Yoko Ono, French Yé-Yé with a touch of Kate Bush ambition.   I know that both John Zorn and Jim O'Rourke think of her work highly, and it's a shame that she is not better known in the West.  Then again, I suspect that she could care less about the music market outside of Japan.  Truly a unique music artist.  Also, she did the design work for this album, and it's a great package. 

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Haruomi Hosono - "Nokto De La Galaksia" Vinyl, LP, Album, Japan, 1985 (Non-Standard)

Haruomi Hosono is probably one of the great music figures to come out of Japan in the 20th-Century.  A big statement I know, but it's true.  It's hard to compare him and his music with someone from Europe or the United States.  He's all over the map music-wise, but the one thing that matters to me is his intelligence and his respect for world music - not only from 'out' there, but also equally fascinated with his own Japanese music roots as well.   His early albums remind me of someone like Ry Cooder, but then he can make a techno-pop album within months of the 'roots' album.  He's known for his work with Yellow Magic Orchestra (YMO), but I prefer his solo albums, which I have to admit is an endless entrance with no exit.   Once you're into this world there is no escape. 

"Nokto De La Galaksia" is Hosono's soundtrack to an anime film made in Japan.  It very much shows up Hosono's various skills - as an arranger, electronic artist, and a strong melodist. The album is instrumental and it flows in an ambient fashion, but it has textures that keep one aware of the music. As I listened to the music, I don't think of it as a soundtrack album, except there is a theme that is repeated throughout the album.  Still, this is a very strong work by Hosono, and those who have an interest in electronic pop or instrumental music, this album is a must-have.  Non-Standard is his label from the 1980s, which not only released his solo recordings at the time, but other Japanese artists as well - with exception Lounge Lizards from New York City, and Mikado a band from France, if not mistaken.  Also while having this label, he's the first to release a Pizzicato Five album. 

Nöel (Sparks) - "Is There More To Life Than Dancing?" Vinyl, LP, Picture Disc, UK, 1979 (Virgin)

I only heard about Nöel's "Is There More To Life Than Dancing?" in whispers.  Recorded sometime between Sparks' "No. 1 in Heaven" and "Terminal Jive" during their exploration of the electronic dance medium, the Nöel album is an enticing part of the trilogy.   Perhaps Giorgio Moroder inspired, during, or after working on "No. 1 in Heaven, Ron Mael and Russell Mael had put together their own project where they wrote and produced songs for another artist.  I know nothing about the mysterious Nöel, and to be frank, it is not her that is of interest, but of course, Sparks.  

In a time of countless 12" remixes and the interesting aspect of the Disco era, this album exists only in that framework.  I wasn't aware of the album until the 1990s, and even that, I only heard about it, and not heard one note of it.  On my recent trip to Tokyo, I found a copy at Vinyl Records in Shinjuku, and I couldn't pass it up.  For a Sparks' fan, this Nöel album is a must, but beyond that, this is a very good album.   As a friend once noted to me "there is no such thing as a bad Sparks' album or song."  Which is a strong statement to make, but also perfectly true.   The picture-disc release (did it ever come out as just black vinyl?) is non-stop music, and there is technically five songs, yet, it builds up as a work of one piece.  What comes through is Sparks' brilliance or trademark sound whatever they do.   They can't help themselves being Sparks, and even when they're writing songs for another, it is still a Sparks record.  And that includes them remixing/re-recording other's records, such as Morrissey's "Suedehead."  

There is not a bad moment on this album, but the masterpiece is "I Want a Man" which I think is up there in Sparks' melodic genius work.  The one thing that strikes me as odd, is that they use a real saxophone in the mix, due that the rest of the album is electronic.  At the moment, I can't think of them ever using a solo saxophone in their songs or arrangements.  Although the album yells out 1980 Disco, there are textures here that can only belong or made by Sparks.  Which makes this an essential listening experience. 

Leisure Process - "A Way You'll Never Be" b/w "Love Cascade (Dance Mix)" 12" Vinyl, 45 RPM, 1982 (Epic)

Leisure Process, sometimes billed as Leisure Process International was a duo consisting of studio musician Gary Barnacle and Max Middleton.  As far as I know, they only made two singles, with "Love Cascade" being the song that had a special dance mix.  The early 1980s was the era of the dance mix for British recordings, and one could go broke in collecting these delicate releases from the record companies of that time.   My favorite of those in that special time of perfect haircuts and big shoulders on the suit, is Leisure Process' "A Way You'll Never Be," which is a fantastic piece of music.  If I have to compare Leisure Process with another band, it would be Magazine.  Not as brilliant as Howard Devoto and company, but they share a sense of darkness in a very 'pop' orientated landscape. 

Barnacle was the sax player of choice for a lot of artists in that time, including The Clash.  In fact, if you heard a sax in a British release in that era more likely it's Gary Barnacle.  Middleton is a mystery to me and for some reason, I think of him being a music journalist of that time, but I can be wrong.  Nevertheless, this is a remarkable record, and "Love Cascade" is also a fantastic song - and a good length dance mix of this song.  They were produced by Martin Rushent, who was a great sound maker for a lot of artists such as Pete Shelley, Human League, and including the classic Buzzcocks recordings.  Not easy to find, but worth the trouble.  

Japan - "Quiet Life" Vinyl, LP, Album, Japan, 1979 (Hansa)

As I mentioned in an earlier review of a Japan album, I would never buy one of their albums due to their name.   It's a general rule that any band that names themselves after a country, a state in the United States, or even a city, are usually terrible.  The two exceptions are the bands the United States of America and of course, Japan.   I first discovered Japan from their album "Tin Drum," which was also their last studio release before splitting up.  "Quiet Life" is an important album for the group.  Their third album and the one that broke off their previous two albums in sound and vision. 

David Sylvian gets his crooning voice in order and the band plays with textures that at first reminds me of Roxy Music, and obviously influenced by Bryan Ferry and company, but took that sound to another place.  I was going to say another level, but Roxy Music and Japan are very different from each other.  Ferry is very much focused on the ideal female - not even a woman, but a presence that is almost ghost-like in his imagination.  Sylvian is more spiritually inclined and in many ways more sensual than Roxy, but also quieter.  I think Eno's "Another Green World" is another influence on the band, in that it is making music for reflection than action.  Mick Karn's presence is felt strongly, and it's interesting to note that Sylvian on the Japan releases is always the cover figure and Karn lurks in the back cover, the placement for a writer or arranger.  Still, this is a fantastic band that blends the sounds in a natural manner, that is suitable for Japan.  

The songs on "Quiet Life" is uptempo in parts, but the future sound is clearly marked.  The song "Quiet Life" is a quiet anthem, and it has a glam overture with the phrase 'Boys..' - and the beautiful string arrangement by Ann O'Dell on "The Other Side of Life" is exquisite.   There is also a cover of The Velvet Underground's "All Tomorrow's Parties," which is suited to the Sylvian croon.  Simon Naiper-Bell managed Japan, and the early Sylvian career, which strikes me as an odd relationship. Only considering that the great Napier-Bell (I'm a fan) went on to manage Wham! and George Michaels, as well as The Yardbirds, and early Marc Bolan.  He co-produced this track, but most of the production work is from John Punter, who worked on the solo Bryan Ferry recordings.  

Ironically I bought this album in Tokyo and this version of "Quiet Life" is the Japanese vinyl edition. It comes with a poster, liner notes (in Japanese) as well as the lyrics both in Japanese and English.