Alain Goraguer - "J'irai Cracher sur vos Tombes" OST, Vinyl, 7" 45 rpm EP, 1959 (Philips)

I have a bit of history with Alain Goraguer, in the sense that I published with my press TamTam Books, J'irai cracher sur vos Tombes (I Spit on Your Graves) by Boris Vian.  Vian had a love and hated relationship with this book due that he got into much trouble with the law on this title, as well as loathing the film version of his novel.  Also, the fact that he died during the screening of this film, sort of makes this a cursed book/film.  Still, and even Vian agreed, Alain Goraguer is a fantastic musician and composer.  

I had the music as a download for years but had a hard time finding the original edition of this classic.  Until I found a copy at HMV in Shinjuku Tokyo.   In pretty great condition, and with a price of around $30, I purchased this piece of history.   The EP is approximately 10 minutes long, with six pieces, but an essential work by Goraguer.   

His most famous work in the English speaking world is his electronic soundtrack to the animated film "La Planète Sauvage," but sadly it ends there with most listeners of that work.  Goraguer is a jazz pianist who also played and arranged the early Serge Gainsbourg records of the 50s,  as well as working with  YéYé teenage acts of the 1960s.  Throughout that decade up to the 80s, he worked on with other French artists and wrote and performed various soundtracks, including adult films.  Whenever I see his name on the record label, either as artist, arranger, or his orchestra, I pick it up and never am I disappointed with the music or recording. 

Goraguer also wrote songs with Boris Vian, and it is probably due to this relationship that he composed the score to "I Spit on Your Graves."   A haunting melody, it is a perfect film writing score that shows all of Goraguer's strength as a composer and artist. 

Twinkle - "Golden Lights" Vinyl, LP, Compilation, 1996, UK (RPM Records)

Twinkle is the ultimate 1960s British teenager, who is also a songwriter and pop singer.  Born wealthy, and had a sister who wrote for the British music fan magazines of that time, knew and went out with a lot of rock n' roll people.  Never released an album, but a series of 45 rpm singles, Twinkle's music is remarkable.  An excellent lyricist, one of her great songs is "Golden Lights," which is a fantastic groupie-like view of a loved one whose name is in the neon lights of a theater. It's visual power, and beautiful melody is pop-divine. 

"Terry" is about a boy who dies on a motorcycle.  It is just as great as any The Shangri-Las' recording, and the difference is that it's quiet in a British manner compared to the Shadow Morton world of East Coast cinematic sounds. There is even a version of Serge Gainsbourg/France Gall's "A Lonely Singing Doll."  This 17-song compilation doesn't have a weak link. 

If a comparison is to be made, I think of Gillian Hills, who also wrote her songs, as well as being an iconic figure both in the UK as well as in France.  A remarkable collection of pop music.  

Gong - "Camembert Electrique" Vinyl, LP, Album, France, 1971 (BYG Records/Acteul)

My old friend Gary introduced me to this band around 1972, and I couldn't get my head around it.  Just too hippy, crazy, too foreign, and in other words, too odd.  Still, on the same day, he also played me early Kevin Ayers, and that too was a challenging listening experience for me.  Decades later, either out of boredom, my jet-lag sensibility, I purchased this album at Rockaway Records in Silver Lake.  Now, as I listen to Gong's "Camembert Electrique" I think it's a masterpiece.

Daevid Allen started the group (if memory serves me correctly, I was put off by the spelling of his first name as well as disliking the album) and somehow ended up in France.  A band, a cult - I'm not sure.  There is for sure a thought that they live on a planet called 'Gong,' but a world that had instruments, that's certain.   Still, the music is brilliant.  Hypnotic, melodic, and in places, reminds me of David Bowie of the Ziggy period.  There is also touches of The Soft Machine, which should be no surprise because Allen was a founding member of that band.

The other voice beside Daevid is Gilli Smith, who has a sinister whisper and adds a certain intensity to the mix.   For a bunch of French/British/Aussie Hippies, they are very tight and focused.  It's psychedelic for sure but has a robust rock approach to their overall sound. This is my first entrance into the rabbit hole that's Gong.

Haruomi Hosono & Tadanori Yokoo - "Cochin Moon" Vinyl, LP, Album, Reissue, 1978/2018 (Light in the Attic)

In the same manner, as the importance of someone like Brian Eno, Van Dyke Parks, and Martin Denny are to the English speaking world, concerning exposing various 'foreign cultures,' the same can be said for Japan's Haruomi Hosono. He's like a combination of all three above.   Also a pioneer in the electronic music pop world as well. Once was (or is?) a member of The Yellow Magic Orchestra (YMO), who are considered to be in a certain sense The Kraftwerk of Japan. Nevertheless, Hosono is a unique figure in Japanese contemporary music. He is very much a music historian, as well as an artist who can blend various styles that become a Hosono stance.

"Cochin Moon" is an album he made with artist/illustrator Tadanori Yokoo, and it's an exotica electro-impressionistic tour of India. It's like Kraftwerk's "Autobahn," but on a culture that is foreign to both Hosono and Yokoo. The thing with Hosono he is also knowledgeable about Japanese music and its culture. It lurks around whenever he makes music, and there is a cultural 'pun' at work when he approaches music from the West, knowing quite well it's 'exotica' to him. That's one of the beautiful things about his entire catalog that it's an artist's approach at looking at the world around him - in images, imagination, in other words, an illusion.

Yokoo is the executive producer, and I suspect that it was his idea to do this album based on a trip to India that they took in the mid-1970s. Still, beyond that, it's all Hosono. Both got physically ill in India, which influences this album. The last track is "Madam Consul General of Madras," which, as legend has it, served Hosono and Yokoo some Japanese food, and therefore they were healed from what was illing them.  There are touches of Indian music on the album, but it's electronic that flows consistently — an iconic electro album.

Lesley Gore - "I'll Cry If I Want To" Vinyl, LP, Album, Mono, 1963 (Mercury)

Lesley Gore is a unique artist in her time and place.  For one, she had a clear plan artistically, and she thought (or her producer Quincy Jones) of the album as a mood piece, or carry a theme.  Here on this album is the subject matter of tears.  A teenager's tears are the most bittersweet of them all. She is billed on the album cover as "The amazing 17-year-old," and clearly, this is the case. 

There is a defiance in Gore's approach to pop that she has the right to feel blue or to express her feelings fully.  There is an intelligence at work here, and I don't think it was manufactured by her manager, record producer or even adults in the room.  The power of her vocal delivery and the choices of songs on this album makes it a fantastic work.  "It's My Party" is a teenager's lament of existence, yet, her tone is strong that she will not accept this insult any longer.  On the other hand, she is a teenager, and Gore knows that's her natural state of mind and body.   The articulation of her stance is genius-like, in that she even made an answer song or a continuation of the "It's My Party" narration to "Judy's Turn To Cry."  

Claus Ogerman's arrangements are sophisticated, yet in tuned to the teenage market at the time. The whole package is one of intelligence, passion, vision, and Gore's ability to express the everyday angst of a teenager facing a harsh world.  Lesley I feel is very underrated talent. 

Giles, Giles and Fripp - "The Cheerful Insanity of Giles, Giles and Fripp" Vinyl, LP, Album, Reissue, 1968/2013 (Cherry Red Records)

My strange obsession this year (so far) is my appreciation for King Crimson.  The love of this band came out of the blue, and I suspect that I was just bored as well.   I bought the first five albums by King Crimson, and although some I like more than others, it is an exciting era of music making by Robert Fripp and company.  I have always heard of Fripp's first recording but thought it might be a tad weird for my taste.  Alas, I was wrong, and again, it took me decades to finally own and listen to this album.  I have heard about it since the early 1970s.  

Peter Giles and his brother Michael, along with Robert Fripp were a trio band but sounded nothing like a power trio.   What they were was jazzy, British music hall, and in certain degrees baroque pop. They are supported by strings as well as keyboards by Nicky Hopkins and organist Mike Hill.  Giles, Giles, & Fripp were also tuneful songwriters, and even at this moment, I have some of their melodies going through my head.   The album also has running humorous narratives that are very twee, kind of funny, and reminds me a bit of The Small Faces' side two of Odgens' Nut Gone Flake."  

Listening to the album, one does not think the next project would be "In The Court of The Crimson King."  It is similar to listening to Bowie's early recordings that lead up to Ziggy and noticing the huge leaps of musical changes.  However, on the surface, it seems Fripp and company made a huge giant step into another world with King Crimson.  Although I do admire and like Crimson, I think I prefer Giles, Giles, & Fripp.  Fripp's guitar playing is exceptional throughout the album, and all three songwriters in the group have a similar aesthetic that they share.  A good balance.  For those who like the slightly obscure sounds coming out of music in 1968 will like this, as well as fans of The Kinks "Village Green," and the eccentric aspects of the Bonzo Dog Band.  

British Electric Foundation - "Music of Quality & Distinction, Volume 1" Vinyl, LP, 1982 (Virgin)

In the late 70s and early 80s, there was this procedure where bands like Public Image LTD and Heaven 17's British Electric Foundation (B.E.F.) were into the corporate identity.  Not only a group but also a company.  I imagine in those days that there were no band meetings, but instead, and in its place, a board meeting took place.   I'm a massive fan of Heaven 17's first album "Penthouse and Pavement," which at its heart is a synth-pop soul sound, but also mixing in real instruments as well. When Ian Craig Marsh and Martyn Ware left Human League to form Heaven 17/B.E.F., it was an ambitious move on their part.  Through Virgin Records, they clearly wanted to have their separate identity as a production house, songwriting group, as well as having a radical approach to corporation life, which I suspect was in itself a critique of that world. 

With that in mind, and also playing the game of marketing an image/music for the consumer, B.E.F. put together "Music of Quality & Distinction, Volume 1" which is a collection of 1960's Motown soul music with 70's Glam era rock.   Each song had a guest singer, and it was usually an iconic figure in the music world.  You have Tina Turner covering the Temptations' "Ball of Confusion," Sandie Shaw doing "Anyone Had a Heart," and Gary Glitter doing a pretty great glam version of Elvis' "Suspicious Minds."  The brilliant aspect of this project is having singers who were fading out in the mainstream music world at the time, and giving them a decent song, as well as a commentary on their era of music making.   The great Paul Jones of Manfred Mann fame does a remarkable version of Northern Soul "There's a Ghost in My House." 

In 1982, the pop singers on the album that were happening at the moment like the excellent Billy MacKenzie (Associates), Heaven 17's Glenn Gregory, and TV announcer Paula Yates (tragic life that one) making mostly classic music from the 60s.  Gregory does the Jimmy Webb song "Witchita Lineman" as well as Lou Reed's "Perfect Day," which is from the 70s.  Ware and Marsh attempt to freeze an era through music, but the brilliant part is their choice of artists doing the material, yet working in the B.E.F. mode of production and vision. 

For me, MacKenzie never fails.  His version of Bowie's "The Secret Life of Arabia" and Roy Orbison's "It's Over" are magnificent due to Billy's voice and approach to these songs.  Having the Shadows' Hank Marvin on the Orbison song is a nice touch as well.  Again, it's the mixture of electronics with real instrumentation, as well as choosing the right iconic singer doing the material makes this album a real joy.