Wednesday, July 19, 2017

A sign of the times (LP 125)

Les and Larry Elgart Sound Of The Times - More Au Go-Go (Vinyl - CBS, 1966) ** 

Genre: Easy Listening

Places I remember: My dad's collection

Fab, and all the other pimply hyperboles/ Gear costume: California Dreaming is nicely arranged and the Batman Theme is bold and brassy.

Active compensatory factors: This is at the meatier end of the Easy Listening genre but it still conforms to the norms - orchestral/jazzy versions of hits of the day (the sound of the time) by The Beatles, Beach Boys and Herb Alpert (Spanish Flea). It's all here, plus the garish girly having fun cover. The shoddily prepared wrinkled backdrop is eerily appropriate.

It's all very swinging 1966.

Larry Elgart is the alto saxophonist, his brother Les plays trumpet.

Dad loved this stuff - let's just say I didn't share his enthusiasm back in 1966 when I was 9. 

Now? I can listen to it in the right spirit - in a vaguely warm, nostalgic glow.

They don't make 'em like this anymore!  

Where do they all belong? Next up in this section is George Martin's more authentic, but equally easy listening, take on some Beatle chunes.

Saturday, July 15, 2017

The spatial effect of stereo (LP 124)

Phillips Presents Super Stereo Demonstration (Vinyl - Phillips, no date anywhere but it's old, okay) * 

Genre: Comedy (because of the sketches and sound effects)

Places I remember: My dad's collection. It has always been around. I can remember this being played when I was still in single figures.

Fab, and all the other pimply hyperboles/Gear costume: Fab and gear is pushing it but the Philip Morgan Super-agent sketch was useful when Greg Knowles and I did our crazy tapes!

Active compensatory factors: A relic from a distant age, when mono made way for stereo and early adopters like my dad needed a stereo presentation record to...erm...actually I'm not sure why he needed this.

Its principal format is, on side 1, a narrator examining the benefits of stereo separation. There are snippets of songs and sketches - like a motel room skit (weirdly put onto YouTube by some weird weirdo above) and 'an overworked commercial traveller desperately trying to get some sleep' - cue the clock ticking, a tap dripping and a brigade of mosquitoes!

Side 2 features the New Westminster Orchestra playing standards, like Hello Dolly, in an easy listening style that my dad was particularly fond of, and I hated. Still doesn't do anything for.

But the whole record is all wonderfully comforting for me - a real, tangible link to my musical history. It's nuts, but I can't imagine my collection without this record.

Where do they all belong? File this in the barking mad category - which, I guess is why I have it nestled into the comedy genre.

Monday, July 10, 2017

Locomotion (John Coltrane) (LP 123)

John Coltrane Blue Train (Vinyl - Blue Note, 1958) ****

Genre: Jazz

Places I remember:
 Marbecks Records (Auckland)

Fab, and all the other pimply hyperboles: Locomotion (Trane/train - see what he did there?)

Gear costume: Blue Train

Active compensatory factors: Coltrane’s only album on the famous Blue Note label was his self-proclaimed favourite album up to 1960.

It's a varied hard bop affair with Lee Morgan, on trumpet, Kenny Drew, piano, and Curtis Fuller, on trombone, joining the rythym section (Paul Chambers, bass, 'Philly' Joe Jones, drums), to provide additional colour to Coltrane's masterful tenor sax.

Overall, it's hard to argue with the sleeve notes that highlight the 'free, but not disorganized, blowing mood that has everyone in exceptional form both individually and collectively'.

Where do they all belong? Coltrane would next take a giant step in 1959.

Wednesday, July 5, 2017

You got me working day and night (Michael Jackson) (LP 122)

Michael Jackson Off The Wall (Vinyl - Epic, 1979) ****

Genre: Soul

Places I remember:
 Marbecks Records (Auckland)

Fab, and all the other pimply hyperboles: Rock With You

Gear costume: Off The Wall, Don’t Stop ‘Til You Get Enough

Active compensatory factors: Off The Wall was eclipsed by Thriller's uber-mega-success but, for me, this is a purer, funner, Michael Jackson album. Even if there are only three songs written by MJ.

Off The Wall is just a load of fun, from the first whooooo to the last disco tune.

In fact, there is a neat balance between the dance/disco material that bookends the album (the very funky Don’t Stop ‘til You Get Enough…to the slightly weak final Burn This Disco Out), the impressive but soppy ballad (She’s Out Of My Life), and superior pure pop (Rock With You).

The quality control isn’t 100% though with at least one track on each side that is a little weak and/or formulaic. Never mind. The joy and high energy elsewhere more than makes up them.

Where do they all belong?  The behemoth was coming.

Saturday, July 1, 2017

New dawn fades (Joy Division) (LP 121)

Joy Division Unknown Pleasures (Vinyl - Factory, 1979) *****

Genre: Alternative

Places I remember: Marbecks Records (Auckland)

Fab, and all the other pimply hyperboles: New Dawn Fades

Gear costume: She's Lost Control

Active compensatory factors: Everything about this record should be depressing - black unrelenting cover (where music is reduced to sound waves), songs without titles (and when they are revealled they are titles like Disorder, New Dawn Fades, Wilderness, She's Lost Control, I Remember Nothing) and a bleak history thanks to Ian Curtis' death, BUT, call me weird, somehow, I find this record curiously uplifting. Same curious thing happens when I listen to the blues.

I have good memories of listening to it during my last few years at Auckland University - the surreal sounds suited my academic reach as I studied a potpourri of poetry and drama and novels for my masters degree in English.

The bleak post punk Mancunian landscape was purely of my imagination. 

The mystery associated with the album - no band pictures (or even names), no song titles - gave it a deeply satisfying aura. I had to make all that stuff up in my head. 

Most definitely a case of unknown pleasures!

Where do they all belong? Closer is coming.

Monday, June 26, 2017

Blues Power (Derek and The Dominos) (LP 120)

Derek and The Dominos In Concert (Vinyl - RSO, 1973) ****

Genre: Blues

Places I remember: Real Groovy (Auckland)

Fab, and all the other pimply hyperboles: Roll It Over

Gear costume: Tell The Truth

Active compensatory factors: Recorded at the Fillmore East, In Concert is the only other surviving record from the Derek and Layla period (apart from Layla and Other Assorted Love Songs, of course).

Interestingly, only three songs in the nine song set actually come from Layla: Why Does Love Got To Be So Sad; Have You Ever Loved A Woman; Tell The Truth. And Layla itself is conspicuous by it's absence.

For me, this is one of Clapton's peak periods and he's had a few hasn't he.  With the combination of Bobby Whitlock's organ, Jim Gordon's flamboyant drumming, Carl Radle's bass anchor, and Eric in great firey form, this foursome is tight!!

Where do they all belong? Eric would shed the pretense of being someone other than who he was and release 461 Ocean Boulevard next - which I've already blogged about. So, I think it'll be some back tracking with Cream next, if that's okay.

Wednesday, June 21, 2017

We can swing together (Lindisfarne) (LP 117 - 119)

Lindisfarne Nicely Out Of Tune (Vinyl - Philips, 1970) **** 
Lindisfarne Fog On The Tyne (CD - Charisma, 1971) *****
Lindisfarne Dingly Dell (Vinyl - Charisma, 1972) *** 

Genre: Folk

Places I remember: The vinyl is from Real Groovy (Auckland) and the CD from HMV (Stratford Mall, London)

Fab, and all the other pimply hyperboles: Lady Eleanor, Meet Me On The Corner.

Gear costume: It may be a little glib to say but everything else on the first two albums is pretty gear. There are some amazing songs on Nicely Out Of Tune and Fog On The Tyne. Dingly Dell has some great moments but it's without a killer track. 

Active compensatory factors: I'm a late comer to Lindisfarne albums, although I did buy Dingly Dell way back in 1972 (I sold it along the long and winding road, so this is a 'new' copy). Instead, over the years, I have used a great compilation as my Lindisfarne go to item.

The albums are something of a revelation to someone like me who just has all the hits on the best of CD. One great song after another from the principle song writers Alan Hull and Rod Clements.

Like a lot of classic musical combos, having the different vocalists, subtle stylistic changes associated with having different, strong song writers, and the multi tasking musicianship makes for a great great sound and, more important - album!

Where do they all belong? Kind of like Wishbone Ash and Black Sabbath, the first three or four albums of their career were never bettered. Next up for Lindisfarne was a couple of crap albums before Back And Fourth, which is coming up, eventually. Interesting that all of these other bands also abandoned fancy album titles and went for Wishbone Ash 4; Black Sabbath Vol. 4. Just sayin'.