Now Dougan has been f...
Now Dougan has been f
Joe Jackson – Night And Day (Deluxe Edition)
This 1982 ode to NYC is an urban(e) pop classic. No CBGB's grime in evidence here, not much sleaze to speak of, but the cosmopolitan vibe and Jackson's strident piano faithfully evoke the hyperkinetic magic of the Big Apple. The Latin rhythms still sound fresh, and there are some curiously proggy textures: "Chinatown" sounds like the meeting point between mid-period Genesis and Costello, all portentous chords and swirling synths, and is a highlight alongside the brilliant happy/sad electropop of "Steppin' Out". Big, brave and often deeply moving.
This 1982 ode to NYC is an urban(e) pop classic. No CBGB’s grime in evidence here, not much sleaze to speak of, but the cosmopolitan vibe and Jackson’s strident piano faithfully evoke the hyperkinetic magic of the Big Apple. The Latin rhythms still sound fresh, and there are some curiously proggy textures: “Chinatown” sounds like the meeting point between mid-period Genesis and Costello, all portentous chords and swirling synths, and is a highlight alongside the brilliant happy/sad electropop of “Steppin’ Out”. Big, brave and often deeply moving.
Duran Duran
Duran's debut album from 1981 created the template for the new romantic sound?funk-lite bass, sub-Kraftwerk keyboards, angular guitar and ludicrous lyrics ("fuses pumping live heat twisting out on a wire", anyone?). Now, post-electroclash, Duran Duran feel current, particularly on the storming opening salvo of singles?"Planet Earth", "Careless Memories", "Girls On Film". What Felix Da Housecat could do if he got his hands on these... By 1983's Seven And The Ragged Tiger, the rot had set in. The last album to feature the original line-up, it's riddled with cocaine?all bloated production and lack of tunes (the juddering future-funk grooves of "Union Of The Snake" aside). Despite being their weakest album, Seven... broke Duran in the US, thanks to "The Reflex". After that, it was Bond themes, side projects and new line-ups.
Duran’s debut album from 1981 created the template for the new romantic sound?funk-lite bass, sub-Kraftwerk keyboards, angular guitar and ludicrous lyrics (“fuses pumping live heat twisting out on a wire”, anyone?). Now, post-electroclash, Duran Duran feel current, particularly on the storming opening salvo of singles?”Planet Earth”, “Careless Memories”, “Girls On Film”. What Felix Da Housecat could do if he got his hands on these…
By 1983’s Seven And The Ragged Tiger, the rot had set in. The last album to feature the original line-up, it’s riddled with cocaine?all bloated production and lack of tunes (the juddering future-funk grooves of “Union Of The Snake” aside). Despite being their weakest album, Seven… broke Duran in the US, thanks to “The Reflex”. After that, it was Bond themes, side projects and new line-ups.
Third Rail – ID Music
If John Barry scored a movie about HR Pufnstuf, it would sound something like this: swirly strings, booming timps, multi-part vocals, garage guitars. All in the service of some tooth-rottingly saccharine whimsy ("General Humpty") but also some heart-stopping pop hooks ("Dream Street"). A reminder of that sunlit, post-Sgt Pepper plateau when optimistic dissent became as mainstream a money machine as Coca-Cola. Not quite Spanky And Our Gang, but still a wonderful, garish, Lolly Gobble Choc Bomb of an album. Third Rail's Joey Levine would go on to be, via Ohio Express, one of bubblegum's greatest icons.
If John Barry scored a movie about HR Pufnstuf, it would sound something like this: swirly strings, booming timps, multi-part vocals, garage guitars. All in the service of some tooth-rottingly saccharine whimsy (“General Humpty”) but also some heart-stopping pop hooks (“Dream Street”). A reminder of that sunlit, post-Sgt Pepper plateau when optimistic dissent became as mainstream a money machine as Coca-Cola. Not quite Spanky And Our Gang, but still a wonderful, garish, Lolly Gobble Choc Bomb of an album. Third Rail’s Joey Levine would go on to be, via Ohio Express, one of bubblegum’s greatest icons.
A Tribe Called Quest – Hits, Rarities & Remixes
Hip hop freaks still wave their arms in the air when ATCQ's name crops up, and this nostalgic bean feast of rarities from the mouths of Q-Tip, Phife and Ali Shaheed Muhammad still punches the appropriate Queens, NYC buttons. The Tribe's jazzy fusion of R&B, thoughtful rap and surprisingly commercial pop sensibilities are all over "Find A Way" and Men In Black item "Same Ole Thang". A good time experience that Questees will file next to 1999's Anthology.
Hip hop freaks still wave their arms in the air when ATCQ’s name crops up, and this nostalgic bean feast of rarities from the mouths of Q-Tip, Phife and Ali Shaheed Muhammad still punches the appropriate Queens, NYC buttons. The Tribe’s jazzy fusion of R&B, thoughtful rap and surprisingly commercial pop sensibilities are all over “Find A Way” and Men In Black item “Same Ole Thang”. A good time experience that Questees will file next to 1999’s Anthology.
The Undertones – Best Of
Belfast's Stiff Little Fingers hoodwinked London critics but Derry's The Undertones were a much more inventive and explosive phenomenon. The O'Neill brothers matched melodic flair to humour, aggression and an acute awareness of social and sexual mores, all perfectly captured by ex-choirboy vocalist Feargal Sharkey. Between '78 and their split in '83 they covered all bases-heart-pounding frustration ("Get Over You"), tumescent glory ("Teenage Kicks"), social unease (the H-Block inspired "It's Going To Happen") and shimmering ballads ("Julie Ocean"). The reformed Tones (minus Sharkey) have a daunting legacy to live up to (their new album is reviewed on p 112).
Belfast’s Stiff Little Fingers hoodwinked London critics but Derry’s The Undertones were a much more inventive and explosive phenomenon. The O’Neill brothers matched melodic flair to humour, aggression and an acute awareness of social and sexual mores, all perfectly captured by ex-choirboy vocalist Feargal Sharkey. Between ’78 and their split in ’83 they covered all bases-heart-pounding frustration (“Get Over You”), tumescent glory (“Teenage Kicks”), social unease (the H-Block inspired “It’s Going To Happen”) and shimmering ballads (“Julie Ocean”). The reformed Tones (minus Sharkey) have a daunting legacy to live up to (their new album is reviewed on p 112).
Marvin Gaye – I Want You (Deluxe Edition)
Gaye's adoration of his then wife Jan, half his age, oozes through every pore of his '76 serenade. He'd met her while recording '73's Let's Get It On, and if I Want You isn't the nonpareil bedroom classic that album was, it's pretty close. Chiefly conceived by Leon Ware and kind of co-opted by the increasingly reclusive Marvin, there's enough ecstasy in the title song and "Come Live With Me, Angel" to keep the fillers afloat. Now over two discs with original masters, outtakes, single mixes, alternate vocals and a 28-page booklet (Ernie Barnes' cover painting is a joy), it's summer, it's seduction, it's 2am, it's sunlight on water.
Gaye’s adoration of his then wife Jan, half his age, oozes through every pore of his ’76 serenade. He’d met her while recording ’73’s Let’s Get It On, and if I Want You isn’t the nonpareil bedroom classic that album was, it’s pretty close. Chiefly conceived by Leon Ware and kind of co-opted by the increasingly reclusive Marvin, there’s enough ecstasy in the title song and “Come Live With Me, Angel” to keep the fillers afloat. Now over two discs with original masters, outtakes, single mixes, alternate vocals and a 28-page booklet (Ernie Barnes’ cover painting is a joy), it’s summer, it’s seduction, it’s 2am, it’s sunlight on water.
Various
Any room at the '80s revival for the pseuds and wallflowers of Cherry Red Records? One suspects not. These retrospectives are a predictable mixture of the label's precious, infuriating and occasionally lovely bands, united by label visionary Mike Alway's meticulous aesthetic. Perspectives And Distortion is an Alway compilation from 1981 centred around what we might call an effete avant-garde, and spoiled by the lumbering quirks of Danielle Dax and Kevin Coyne. Our Brilliant Careers harvests singles from 81-83, with the emphasis shifting to the wimpish indie that so influenced Sarah Records. Some nice moments from Everything But The Girl and the mightily jangly Fantastic Something. A Fine Day... is more of the same from 83-85, anchored by Jane And Barton's memorable, ingenuous song-poem "It's A Fine Day". A band called Grab Grab The Haddock, however, may stretch the patience of even the label's feyest acolytes.
Any room at the ’80s revival for the pseuds and wallflowers of Cherry Red Records? One suspects not. These retrospectives are a predictable mixture of the label’s precious, infuriating and occasionally lovely bands, united by label visionary Mike Alway’s meticulous aesthetic.
Perspectives And Distortion is an Alway compilation from 1981 centred around what we might call an effete avant-garde, and spoiled by the lumbering quirks of Danielle Dax and Kevin Coyne.
Our Brilliant Careers harvests singles from 81-83, with the emphasis shifting to the wimpish indie that so influenced Sarah Records. Some nice moments from Everything But The Girl and the mightily jangly Fantastic Something.
A Fine Day… is more of the same from 83-85, anchored by Jane And Barton’s memorable, ingenuous song-poem “It’s A Fine Day”. A band called Grab Grab The Haddock, however, may stretch the patience of even the label’s feyest acolytes.
Cherelle – Alexander O’Neal
Alexander O'Neal
ALEXANDER O'NEAL
BOTH TABU
Before they were all but monopolised by Janet Jackson, writer/producer/players Jimmy Jam & Terry Lewis dominated the freshly electric '80s soul scene, penning hits for everyone from The Human League to The SOS Band. And while the dry ice and perms of these album sleeves might have dated beyond redemption, the Jam/Lewis sound, in which these two albums are richly marinated, hasn't lost its ability to make you weak at the knees. Highlight of Cherelle's High Priority is the melancholy "Saturday Love", a duet with O'Neal, whose eponymous album features his own career zenith, "If You Were Here Tonight".
Alexander O’Neal
ALEXANDER O’NEAL
BOTH TABU
Before they were all but monopolised by Janet Jackson, writer/producer/players Jimmy Jam & Terry Lewis dominated the freshly electric ’80s soul scene, penning hits for everyone from The Human League to The SOS Band. And while the dry ice and perms of these album sleeves might have dated beyond redemption, the Jam/Lewis sound, in which these two albums are richly marinated, hasn’t lost its ability to make you weak at the knees. Highlight of Cherelle’s High Priority is the melancholy “Saturday Love”, a duet with O’Neal, whose eponymous album features his own career zenith, “If You Were Here Tonight”.
Digging Their Own Hole
Although it's a little premature to write their obituary, The Chemical Brothers' chief contribution to British music seems clear: a brilliant confidence trick that seduced rock traditionalists into liking dance music. Superficially, Tom Rowlands and Ed Simons' story is similar to many of their generation?unassuming indie boys who went to college in the late '80s and were drawn into the acid house scene. But unlike many of their contemporaries, Rowlands and Simons actively courted rock'n'roll credibility while epitomising the cliche of the 'faceless DJ'. Singles 93-03 is a handy catalogue of The Chemical Brothers' adventures, from their amyl-splattered early days in residence at the Heavenly Social, through the short, blokey heyday of big beat and onto bombastic stadium techno. Continuously, there's that desire to poke up a limber new music with old rock cachet, so that even their excellent, spunky debut single arrives with a historically resonant title, "Song To The Siren". The problems?and commercial glories?really come with the superstar collaborators. Noel Gallagher's presence on "Setting Sun" might have provided massive crossover appeal, but it also brings a characteristic prosaicism, detracting from the track's nifty fusion of breakbeat and "Tomorrow Never Knows"-style atmospherics. Further work with Gallagher, Richard Ashcroft and Bernard Sumner is equally patchy, while Wayne Coyne is charming enough on the new "The Golden Path" (see The Chems vs The Lips, p96), even if the tune's one-dimensional compared with his own work. Ironically, it's Coyne's old associates Mercury Rev who emerge best, applying unstable textures to the instrumental whirl of "The Private Psychedelic Reel". The fact that the best Chemical Brothers tracks are repetitive beat matrixes rather than rock star-assisted songs is beside the point. The latter is where the band's reputation now rests. Which leaves Rowlands and Simons looking like either fanboys on a methodical campaign to work with all their heroes, or canny networkers who've expanded their business by tapping into a conservative rock market. As Brothers who've worked it out, perhaps, but only to the detriment of their art.
Although it’s a little premature to write their obituary, The Chemical Brothers’ chief contribution to British music seems clear: a brilliant confidence trick that seduced rock traditionalists into liking dance music. Superficially, Tom Rowlands and Ed Simons’ story is similar to many of their generation?unassuming indie boys who went to college in the late ’80s and were drawn into the acid house scene. But unlike many of their contemporaries, Rowlands and Simons actively courted rock’n’roll credibility while epitomising the cliche of the ‘faceless DJ’.
Singles 93-03 is a handy catalogue of The Chemical Brothers’ adventures, from their amyl-splattered early days in residence at the Heavenly Social, through the short, blokey heyday of big beat and onto bombastic stadium techno. Continuously, there’s that desire to poke up a limber new music with old rock cachet, so that even their excellent, spunky debut single arrives with a historically resonant title, “Song To The Siren”.
The problems?and commercial glories?really come with the superstar collaborators. Noel Gallagher’s presence on “Setting Sun” might have provided massive crossover appeal, but it also brings a characteristic prosaicism, detracting from the track’s nifty fusion of breakbeat and “Tomorrow Never Knows”-style atmospherics. Further work with Gallagher, Richard Ashcroft and Bernard Sumner is equally patchy, while Wayne Coyne is charming enough on the new “The Golden Path” (see The Chems vs The Lips, p96), even if the tune’s one-dimensional compared with his own work. Ironically, it’s Coyne’s old associates Mercury Rev who emerge best, applying unstable textures to the instrumental whirl of “The Private Psychedelic Reel”.
The fact that the best Chemical Brothers tracks are repetitive beat matrixes rather than rock star-assisted songs is beside the point. The latter is where the band’s reputation now rests. Which leaves Rowlands and Simons looking like either fanboys on a methodical campaign to work with all their heroes, or canny networkers who’ve expanded their business by tapping into a conservative rock market. As Brothers who’ve worked it out, perhaps, but only to the detriment of their art.
Back On The Track
"Reinvented for a new millennium" with a first tour and single in 17 years, Dexys are back. DEXYS ARE BACK! Three little words some of us dreamed of hearing even more than "Cameron Diaz is your new neighbour" or "Tell you what, we'll waive those back taxes." With a best-of featuring two new numbers of titanic genius, and Kevin Rowland seemingly fully focused again, this could be magic. The adverse reaction to Rowland's '99 solo album My Beauty was one of the saddest indicators of the music industry and media's new conservatism. Beauty? Nobody wanted to know. Poets, mavericks? Whisper it-individualism? The Indie Lad Factory, while considering itself so morally superior to TV's Pop Idol zone, was bewildered, threatened, lacked the wit or agility to make the imaginative leap required. Dexys always demanded a suspension of disbelief, a finding of buried treasure deep within your soul. Whereas such gauche ambition and courage was once applauded, it's now derided. Which means everyone hides their lights under bushels and everything goes backwards. Music is approximately one quarter as inspiring as it was when Dexys were flying. I don't mean: 'twas all green fields round here and you could leave your front door open. I mean: where are the youthful folly and bravado (from artists of any age) which make outstanding (rather than solid) records? Dexys were outstanding (in three different incarnations), and we can hope they'll chuck a few cats among the pigeons again, because Rowland is not one for half-measures. In the Searching For The Young Soul Rebels era they roared with soulful horns and horny soul. Present here, among others (Kevin oversaw track selection) are "Geno", "Tell Me When My Light Turns Green", and the thrilling "There, There My Dear". From the gazillion-selling gypsy-dress Too-Rye-Ay period we have "Let's Make This Precious", "The Celtic Soul Brothers", the uniquely dynamic "Plan B" and of course "Come On Eileen". Plus the epic, wonderful, fearless "Until I Believe In My Soul". From the Citizen Kane of cult albums, Don't Stand Me Down, there's the full version of the transcendent "This Is What She's Like", plus "I Love You" and "My National Pride". Already, then, golden. (Reservations? There's no "Liars A To E", "Old", or "Keep It"... you can't have everything.) But you'll be wanting to know about the new songs. "Manhood"?the single?is a rip-roaring return, sounding like a moment of yearning from somewhere between the second and third LPs. Kevin, singing beautifully, assesses his own prickliness and distress, confessing to insecurity and fear of rejection, before a call-and-response set-piece avows that one avenue still open to him is "spirituality". "My Life In England (Part One)" is equally glorious, as the singer, over Too-Rye-Ay-style fiddles-and-handclaps flourishes, looks back at a troubled childhood in Wolverhampton and Harrow. With sheer zest and candour (not to mention catchiness), these intense songs explore (and celebrate) emotional turbulence, emerging exuberant. These days, it's like seeing a Van Gogh in a room full of Jenny Holzer. The new Dexys should be allowed to settle in, find their feet, then blaze. Because as this music proves, when Dexys blaze, the world moves from b/w to colour. Believe: this is what it's like.
“Reinvented for a new millennium” with a first tour and single in 17 years, Dexys are back. DEXYS ARE BACK! Three little words some of us dreamed of hearing even more than “Cameron Diaz is your new neighbour” or “Tell you what, we’ll waive those back taxes.” With a best-of featuring two new numbers of titanic genius, and Kevin Rowland seemingly fully focused again, this could be magic.
The adverse reaction to Rowland’s ’99 solo album My Beauty was one of the saddest indicators of the music industry and media’s new conservatism. Beauty? Nobody wanted to know. Poets, mavericks? Whisper it-individualism? The Indie Lad Factory, while considering itself so morally superior to TV’s Pop Idol zone, was bewildered, threatened, lacked the wit or agility to make the imaginative leap required. Dexys always demanded a suspension of disbelief, a finding of buried treasure deep within your soul. Whereas such gauche ambition and courage was once applauded, it’s now derided. Which means everyone hides their lights under bushels and everything goes backwards. Music is approximately one quarter as inspiring as it was when Dexys were flying. I don’t mean: ’twas all green fields round here and you could leave your front door open. I mean: where are the youthful folly and bravado (from artists of any age) which make outstanding (rather than solid) records?
Dexys were outstanding (in three different incarnations), and we can hope they’ll chuck a few cats among the pigeons again, because Rowland is not one for half-measures. In the Searching For The Young Soul Rebels era they roared with soulful horns and horny soul. Present here, among others (Kevin oversaw track selection) are “Geno”, “Tell Me When My Light Turns Green”, and the thrilling “There, There My Dear”. From the gazillion-selling gypsy-dress Too-Rye-Ay period we have “Let’s Make This Precious”, “The Celtic Soul Brothers”, the uniquely dynamic “Plan B” and of course “Come On Eileen”. Plus the epic, wonderful, fearless “Until I Believe In My Soul”.
From the Citizen Kane of cult albums, Don’t Stand Me Down, there’s the full version of the transcendent “This Is What She’s Like”, plus “I Love You” and “My National Pride”. Already, then, golden. (Reservations? There’s no “Liars A To E”, “Old”, or “Keep It”… you can’t have everything.) But you’ll be wanting to know about the new songs. “Manhood”?the single?is a rip-roaring return, sounding like a moment of yearning from somewhere between the second and third LPs. Kevin, singing beautifully, assesses his own prickliness and distress, confessing to insecurity and fear of rejection, before a call-and-response set-piece avows that one avenue still open to him is “spirituality”. “My Life In England (Part One)” is equally glorious, as the singer, over Too-Rye-Ay-style fiddles-and-handclaps flourishes, looks back at a troubled childhood in Wolverhampton and Harrow. With sheer zest and candour (not to mention catchiness), these intense songs explore (and celebrate) emotional turbulence, emerging exuberant. These days, it’s like seeing a Van Gogh in a room full of Jenny Holzer. The new Dexys should be allowed to settle in, find their feet, then blaze. Because as this music proves, when Dexys blaze, the world moves from b/w to colour. Believe: this is what it’s like.
Santana
This four-title reissue series could easily bear the suffix "The Fusion Years". After the initial Santana line-up melted down following their third album, their Latin-tinged psychedelia was replaced by the distinctly Miles-influenced jazz-rock of Santana Mk II. If the masterfully moody, ethereal Caravanserai was Santana's In A Silent Way, Carlos' barn-burning collaboration with Miles axeman McLaughlin was his own Bitches Brew. Welcome's fusion is slightly softened around the edges, but it's still full of worthy tunes, and the two-disc live Lotus finds the Welcome line-up adding a bit more grit in concert.
This four-title reissue series could easily bear the suffix “The Fusion Years”. After the initial Santana line-up melted down following their third album, their Latin-tinged psychedelia was replaced by the distinctly Miles-influenced jazz-rock of Santana Mk II. If the masterfully moody, ethereal Caravanserai was Santana’s In A Silent Way, Carlos’ barn-burning collaboration with Miles axeman McLaughlin was his own Bitches Brew. Welcome’s fusion is slightly softened around the edges, but it’s still full of worthy tunes, and the two-disc live Lotus finds the Welcome line-up adding a bit more grit in concert.
Status Quo
They may be an easy target, but these reissues of Quo's third and fourth LPs from 1970 and 1971 serve only to show how long this band's sideshow has been gulling the innocent. Rossi and Parfitt kick the odd ember from their interesting psychedelic "Matchstick Men" heyday on 1970's "Daughter", "Shy Fly" and "Everything". At times, one is animated by how groovily garage-punky Quo could sound. But by the time of Dog, one wonders how they secured a deal, let alone a place in rock history. Lacking Purple's heaviness, Zep's finesse and Canned Heat's rootsiness, this music resists critical salvage.
They may be an easy target, but these reissues of Quo’s third and fourth LPs from 1970 and 1971 serve only to show how long this band’s sideshow has been gulling the innocent. Rossi and Parfitt kick the odd ember from their interesting psychedelic “Matchstick Men” heyday on 1970’s “Daughter”, “Shy Fly” and “Everything”. At times, one is animated by how groovily garage-punky Quo could sound. But by the time of Dog, one wonders how they secured a deal, let alone a place in rock history. Lacking Purple’s heaviness, Zep’s finesse and Canned Heat’s rootsiness, this music resists critical salvage.
Various – Northern Soul Floorshakers
Part of the appeal of the Northern Soul scene is its tireless pursuit of the obscure, its brilliantly sustained snobbery. Curious, then, that this compilation, drawn from the RCA archives, comes with a sticker bragging, "Includes Laura Green 'Moonlight, Music And You' as featured in the fast food ad". Diehards may run appalled as a result, but the rest of us?marketing execs included?will find plenty to cherish amid the bracing, unpretentious Floorshakers. Lost NYC girl group The Exciters' "Blowing Up My Mind", especially, captures the sense of intense, life-changing emotion being packed into a transient pop moment typical of the best '60s R&B.
Part of the appeal of the Northern Soul scene is its tireless pursuit of the obscure, its brilliantly sustained snobbery. Curious, then, that this compilation, drawn from the RCA archives, comes with a sticker bragging, “Includes Laura Green ‘Moonlight, Music And You’ as featured in the fast food ad”. Diehards may run appalled as a result, but the rest of us?marketing execs included?will find plenty to cherish amid the bracing, unpretentious Floorshakers. Lost NYC girl group The Exciters’ “Blowing Up My Mind”, especially, captures the sense of intense, life-changing emotion being packed into a transient pop moment typical of the best ’60s R&B.
Various – Wu-Tang Collective
"Gangsta flavas from the Wu Mastas," announces the cover excruciatingly,though the nine core members of the Wu-Tang Clan are peripheral figures on this shoddy compilation. Instead the 15 tracks focus on marginal associates of the Rza, drawn from a clutch of patchy projects like Wu-Chronicles, Wu Syndicate, and Wu-Tang Killa Bees. As ever, there are marvellous moments-Cappadonna's "'97 Mentality" ranks as one of the corporation's best ever tracks. Nevertheless, the cynical recycling of substandard material only serves to denude the Wu's reputation rather than make them seem omnipresent.
“Gangsta flavas from the Wu Mastas,” announces the cover excruciatingly,though the nine core members of the Wu-Tang Clan are peripheral figures on this shoddy compilation. Instead the 15 tracks focus on marginal associates of the Rza, drawn from a clutch of patchy projects like Wu-Chronicles, Wu Syndicate, and Wu-Tang Killa Bees. As ever, there are marvellous moments-Cappadonna’s “’97 Mentality” ranks as one of the corporation’s best ever tracks. Nevertheless, the cynical recycling of substandard material only serves to denude the Wu’s reputation rather than make them seem omnipresent.
The Holy Modal Rounders – Good Taste Is Timeless
After the drug-riddled dementia of 1969 cult classic The Moray Eels Eat The Holy Modal Rounders, THMR decamped to Nashville to record 1971's Good Taste..., aided by Elvis sidemen DJ Fontana and Scotty Moore. Ditching the psychedelic freak-folk for a wild romp in the country, the result swings from ridiculous to touching to crack-brained and back. The finer moments (bastardised trad ditty "Spring Of '65"; the softly-stacked harmonies of Michael Hurley's "Love Is The Closest Thing") sit uneasily with squawking cod-Appalachian hoedowns and Weber's classic ode to the nork, "Boobs A Lot" (initially recorded by the Fugs on their '65 debut). An acid-mountain hoot all the same.
After the drug-riddled dementia of 1969 cult classic The Moray Eels Eat The Holy Modal Rounders, THMR decamped to Nashville to record 1971’s Good Taste…, aided by Elvis sidemen DJ Fontana and Scotty Moore. Ditching the psychedelic freak-folk for a wild romp in the country, the result swings from ridiculous to touching to crack-brained and back. The finer moments (bastardised trad ditty “Spring Of ’65”; the softly-stacked harmonies of Michael Hurley’s “Love Is The Closest Thing”) sit uneasily with squawking cod-Appalachian hoedowns and Weber’s classic ode to the nork, “Boobs A Lot” (initially recorded by the Fugs on their ’65 debut). An acid-mountain hoot all the same.
Various Artists – Sound System Rockers: Kingston Town 1969-1975
The sounds that ushered in the dub and dancehall revolution had their roots in tracks like the ones compiled here. Lovers rock legends or ballad masters such as Gregory Isaacs, Johnny Clarke, Freddie McGregor, Dennis Brown and the godfathers?Ken Booth and John Holt?were as responsible for putting Jamaica firmly on the map as any Wailers dub plate. The presence of ace musos like Sly and Robbie and Aston "Family Man" Barrett keep the groove sultry, and the songs are fantastic. Heavier moments from Leroy Smart and Barry Brown add to the girls, ganja and God brew. An addictive set.
The sounds that ushered in the dub and dancehall revolution had their roots in tracks like the ones compiled here. Lovers rock legends or ballad masters such as Gregory Isaacs, Johnny Clarke, Freddie McGregor, Dennis Brown and the godfathers?Ken Booth and John Holt?were as responsible for putting Jamaica firmly on the map as any Wailers dub plate. The presence of ace musos like Sly and Robbie and Aston “Family Man” Barrett keep the groove sultry, and the songs are fantastic. Heavier moments from Leroy Smart and Barry Brown add to the girls, ganja and God brew. An addictive set.
Various Artists – Lost Legends Of Surf Guitar
Pounding from the 'burbs and beaches of Orange County and beyond, surf music (in its 1961-64 heyday) was a breeding ground for the West Coast's most vibrant talents, long before its relegation to Tarantino-filched novelty. Wrecking Crew legend Jerry Cole (complete with Spacemen) is here, alongside soon-to-be-pivotal LA producers Terry Melcher and Gary Usher, while a pre-Buffalo Springfield Jim Messina crops up with the Jesters and The Surfaris include Ken Forssi, future member of Love. Unearthed gems from The Royal Coachmen, Vibrants and Gene "The Draggin' King" Moles burn rubber alongside better known reverb-twangers like The Pyramids, Trashmen and Tornadoes. Bustin' surfboards ahoy!
Pounding from the ‘burbs and beaches of Orange County and beyond, surf music (in its 1961-64 heyday) was a breeding ground for the West Coast’s most vibrant talents, long before its relegation to Tarantino-filched novelty. Wrecking Crew legend Jerry Cole (complete with Spacemen) is here, alongside soon-to-be-pivotal LA producers Terry Melcher and Gary Usher, while a pre-Buffalo Springfield Jim Messina crops up with the Jesters and The Surfaris include Ken Forssi, future member of Love. Unearthed gems from The Royal Coachmen, Vibrants and Gene “The Draggin’ King” Moles burn rubber alongside better known reverb-twangers like The Pyramids, Trashmen and Tornadoes. Bustin’ surfboards ahoy!
The Stranglers – The UA Singles 79-82
With the exception of 1982's "Strange Little Girl" and the organ-parping heroin eulogy "Golden Brown", these dozen CD facsimiles of The Stranglers' seven-inches from the albums The Raven, Meninblack and La Folie could be collectively dubbed 'the misses'. But did they seriously expect results with singles as knowingly peculiar as 1980's "Just Like Nothing On Earth"? Two rare imports?"Sweden" in Swedish, "Don't Bring Harry" in French?are of interest to connoisseurs, but the rest sounds dated and faintly absurd.
With the exception of 1982’s “Strange Little Girl” and the organ-parping heroin eulogy “Golden Brown”, these dozen CD facsimiles of The Stranglers’ seven-inches from the albums The Raven, Meninblack and La Folie could be collectively dubbed ‘the misses’. But did they seriously expect results with singles as knowingly peculiar as 1980’s “Just Like Nothing On Earth”? Two rare imports?”Sweden” in Swedish, “Don’t Bring Harry” in French?are of interest to connoisseurs, but the rest sounds dated and faintly absurd.
UB40 – The Platinum Collection
As the biggest selling reggae band in the world, UB40 have invoked suspicion among cultists with their open romance of the mass market. Their Labour Of Love series is seen as a flagrant sell-out, but the music, lovingly crafted around Ali Campbell's honeyed vocals, tells a different story. There's no mistaking the warmth, sincerity and emotional commitment to the songs. So "Red Red Wine" may have reached karaoke overkill, but their mission to praise lost heroes like The Melodians, The Paragons and Slim Smith is as strong as ever on 1999's third instalment. A fourth volume wouldn't go amiss.
As the biggest selling reggae band in the world, UB40 have invoked suspicion among cultists with their open romance of the mass market. Their Labour Of Love series is seen as a flagrant sell-out, but the music, lovingly crafted around Ali Campbell’s honeyed vocals, tells a different story. There’s no mistaking the warmth, sincerity and emotional commitment to the songs. So “Red Red Wine” may have reached karaoke overkill, but their mission to praise lost heroes like The Melodians, The Paragons and Slim Smith is as strong as ever on 1999’s third instalment. A fourth volume wouldn’t go amiss.
