Favourite shirts (Haircut One Hundred) (LP 2686)

Haircut One Hundred  Pelican West (Vinyl, Arista Records, 1982) ****  

Genre: Pop 

Places I remember: Marbeck Records

Fab, and all the other pimply hyperboles: Fantastic Day

Gear costume: Love Plus One

Active compensatory factors: I was really taken by the music of Haircut One Hundred back in the day. It sounded so fresh and bouncy after punk and the terribly serious music of the new wave that followed it.

This was spring music. Perfect for crisp sunny days in my flat in Windmill Road while I went to training college, a few streets away in Epsom. Wonderfully self-indulgent times.

There is a jazzy edge to the music and the sleeve kind of pays homage to early, innocent times with those knitted jerseys, the short sleeves and the yellow ties. Perfect image.

Nick Heyward is the main man; he wrote most of the songs, sings them and plays lead guitar. A very talented guy. Blair Cunningham, who later played with Paul McCartney, is on drums.

The sax, trumpets and trombone provide a lovely texture and provide a point of difference to all the other bands battling for the airways in 1982.

Where do they all belong? They only made two albums (this is their debut) and I never bothered to track down their second. Mainly because Nick Heyward had left the band before the second was completed.

You are here (Nathan Haines) (LP 2685)

Nathan Haines  Right Now (CD, Haven Music, 2007) *** 

Genre: Jazz, NZ music

Places I remember: Shona Walding's collection

Fab, and all the other pimply hyperboles: Tell Me What You're Feeling

Gear costume: Home

Active compensatory factors: Nathan Haines is a NZ musician, a saxophonist/vocalist and producer. On Right Now he employs a variety of other voices - including Marlena Shaw.

It's modern jazz, with funky grooves and a drum and bass influence. Perfect music for a trendy art gallery or cafe.

I have no idea how good it is, but I would prefer more sax at times. And, colour me a traditionalist, I'd rather listen to jazz from the fifties and sixties, given the choice.

Where do they all belong? An album I'll come back to I suspect.

Ace of wands (Steve Hackett) (LP 2679 - 2684)

 

Steve Hackett  Voyage Of The Acolyte (Vinyl and CD, Chrysalis Records (vinyl), Charisma (CD), 1975) ****  

Steve Hackett  Please Don't Touch! (CD, Charisma Records, 1978) *** 

Steve Hackett  Spectral Mornings (Vinyl and CD, Chrysalis Records(vinyl), Charisma (CD), 1979) *** 

Steve Hackett  Defector (CD, Charisma Records, 1980) **** 

Steve Hackett  Cured (Vinyl, Charisma Records, 1981) *** 

Steve Hackett  Highly Strung (CD, Charisma Records, 1983) *** 

Genre: Prog rock

Places I remember: Chaldon Books and Records for the vinyl, Fopp (the 5 Classic Album series on CD came from here).

Fab, and all the other pimply hyperboles: Every Day (Spectral Mornings)

Gear costume: Please Don't Touch (PDT!); Jacuzzi (Deflector)

Active compensatory factors: I am quite drawn to Steve's solo work because it is largely instrumental, while retaining all the elements of early to mid-period Genesis that I like.

At least, that's the case for Voyage Of The Acolyte - his debut solo album, released while still a member of Genesis. Both Phil Collins and Mike Rutherford appear, along with Steve's brother John - a regular player on his albums.

Second album - Please Don't Touch! was the first done after leaving Genesis. Wisely, he lets others do the singing. Steve Walsh, Richie Havens and Randy Crawford do a great job.

Unfortunately, second track, Carry On Up The Vicarage, has processed vocals from Steve. He's attempting to be funny, I guess, but the joke plainly doesn't work!

Third album - Spectral Mornings, contains an eclectic range of styles, and has a few more vocals from Steve and bassist Dik Cadbury. 

I prefer the songs where Steve's guitar is more of a feature. He does continue the unfortunate habit of including off-the-wall tracks again. On this album, The Red Flower... has an oriental sound that is a tad off-putting in this context, and The Ballad Of The Decomposing Man is just weird with Steve singing like George Formby. Novelty tracks don't generally wear well.

Side two, however, is much better, with some lyrical guitar from Steve on the title track ending the album on a high.

Deflector is more consistent, and even the last track - another Steve Hackett pastiche, kinda works. The rest of the album is of a high calibre, featuring Steve's quality guitaring. It's probably the closest album to Genesis of the late seventies.

Cured is the one with the terrible cover. It's his most poppy sound and only really features him and Nick Magnus (keyboards and drum machine).

I should have noticed that Steve did all the vocals and the drum machine credits a lot earlier! But, having said that, it's not as terrible as it sounds - the songs are there, plus it's a French pressing with a very cool black Charisma label.

The final album in the CD set (and his final album for Charisma) is 1983's Highly Strung. Real drums are back - thanks to future Marillion drummer Ian Mosely.

Steve continues on vocals, but he's sounding better as the years go on. I think his voice suits these proggy sounds, largely driven by synths and other keyboards. Go for it if poppy prog from the eighties is your thing.

Where do they all belong? That's enough of Steve for one collection, I feel.

May Street (McCoy Tyner) (LP 2678)

McCoy Tyner  Time For Tyner  (Vinyl, Blue Note Records, 1969) *****  

Genre: Jazz 

Places I remember: JB Hi Fi

Fab, and all the other pimply hyperboles: The Surrey With The Fringe On Top

Gear costume: May Street

Active compensatory factors: Tyner is a genius, just like everyone else who John Coltrane chose to play with. The man knew quality!

This is an excellent album, featuring performances by Tyner with vibraphonist Bobby Hutcherson, bassist Herbie Lewis and drummer Freddie Waits.

I'm not really a fan of the vibraphone, but here it's a valuable foil for McCoy, adding colour and texture where a sax or trumpet might be. It's used sparingly and Hutcherson is a master of the instrument.

Where do they all belong? Another fantastic album for the jazz collection.

Snake oil (Tony Williams) (LP 2677)

The New Tony Williams Lifetime  Believe It (Vinyl, Columbia Records, 1975) ****  

Genre: Jazz fusion 

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: Red Alert

Gear costume: Fred

Active compensatory factors: I've been looking for records by jazz fusion drummer Tony Williams for a while but then I read an interview with him in Jenny Boyd's book and the hunt intensified. He's a very articulate guy!

He's joined in this version of his Lifetime band by Allan Holdsworth on guitar, Alan Pasqua on keyboards and Tony Newton on bass.

They can play it intense (Mr Spock) or loose (Fred) and everywhere in between. The interplay between all four is the real feature of the album.

Where do they all belong? Yes, on the lookout for more!

Strode rode (Sonny Rollins) (LP 2676)

Sonny Rollins  Saxophone Colossus (Vinyl, Waxtime Records, 2019, original release - 1956) *****  

Genre: Jazz 

Places I remember: My Music Taupo

Fab, and all the other pimply hyperboles: Strode Rode

Gear costume: Moritat

Active compensatory factors: I was thrilled to pick up a re-release of this landmark record (on blue vinyl even) on a recent holiday in Taupo. I always seem to find a big jazz album on my visits there!

Rollins' sixth studio album is widely regarded as one of his best, and therefore one of jazz' best. He's very relaxed and the band gel superbly.

In 2016, Saxophone Colossus was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Where do they all belong? A great addition to the collection.

The last door (Bruce/Trower) (LP 2675)

Jack Bruce, Robin Trower  Seven Moons Live (CD, Ruf Records, 2009) ****  

Genre: Blues rock

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: The Last Door

Gear costume: Politician

Active compensatory factors: Even though his voice is showing signs of wear and tear, Jack is in good form on this live date from 2009 in Holland. He and Robin are joined by drummer Gary Husband in the power trio format that allows each musician room to maneuver.

Note: this album is also called Songs From the Road (with a different cover).

They play songs from their Seven Moons album, plus some sterling versions of some Cream classics: Sunshine Of Your Love; White Room, and best of all - Politician.

Lord knows how many times he's played this song live but he still manages to conjure up the magic. Remarkable.

Where do they all belong? I picked this one up recently from Real Groovy - I'm always looking to add to the Jack Bruce collection, regardless of format.

Do re mi (Woody Guthrie) (LP 2674)

Woody Guthrie  Dust Bowl Ballads (CD, BMG Records, 1998 - originally released 1940) *****  

Genre: Folk 

Places I remember: The Warehouse

Fab, and all the other pimply hyperboles: Talkin' Dust Bowl Blues

Gear costume: Do Re Mi

Active compensatory factors: I love thematic albums like this. It's considered one of the first concept records because all of the songs deal with the so-called Dust Bowl situation of the 1930s, as Steinbeck wrote about so eloquently in Grapes Of Wrath.

Tom Joad Part 1 and 2 (it was too long to appear on the original 78rpm version so it was split in half) is a featured song and some other Woody Guthrie classics are on display as well: Do Re Mi (Ry Cooder's live version on Showtime is brilliant); Vigilante Man; Pretty Boy Floyd; plus the great Talking Dust Bowl Blues (Chuck Berry was paying attention).

All that plus the brilliant line (in Pretty Boy Floyd): 

Yes, as through this world I've wandered

I've seen lots of funny men
Some will rob you with a six-gun
And some with a fountain pen

This was Woody's most successful album of his career.

Where do they all belong? A must have addition to anyone's collection. Woody is just brilliant on this fully realised album. Helps that I adore Steinbeck's writing as well.

That's it for the G section. On to the H's.

Wouldn't you believe it (Arlo Guthrie) (LP 2666 - 2673)

Arlo Guthrie  Alice's Restaurant (Vinyl, Reprise Records, 1967) ****  

Arlo Guthrie Arlo (Vinyl, Reprise Records, 1968) ****  

Arlo Guthrie  Alice's Restaurant (Original Motion Picture Score) (Vinyl, United Artists Records, 1969) **  

Arlo Guthrie  Washington County (Vinyl, Reprise Records, 1970) ****  

Arlo Guthrie  Last Of The Brooklyn Cowboys (Vinyl, Reprise Records, 1973) ****  

Arlo Guthrie  Arlo Guthrie (Vinyl, Reprise Records, 1974) ***  

Arlo Guthrie  Amigo (Vinyl, Reprise Records, 1976) **** 

Arlo Guthrie  One Night (Vinyl, Warner Bros Records, 1978) ***   

Genre: Folk; folk rock

Places I remember: Slow Boat Records, Real Groovy Records

Fab, and all the other pimply hyperboles: Alice's Restaurant Massacree

Gear costume: The Motorcycle Song (Arlo); Gabriel's Mother's Hiway Ballad #16 Blues (Washington County)

Active compensatory factors: I seem to pick up Arlo's albums on a regular basis. I'm never actively looking for them, but I come across them and if they are in good condition, I grab them.

That explains why I've already written posts about 1969's Running Down The Road and 1972's Hobo Lullaby. And now here's a treasure trove of his other albums to catch up with.

It was Margo and Clay that got me started by playing me the song - Alice's Restaurant Massacree, which is a brilliant live recording and a deserved classic. I picked up his Best of Arlo album while working at Marbecks Records in the late seventies.

Since then, it's been a case of picking up albums when I see them, as I've already said.

The Alice's Restaurant album gets four stars because side two doesn't have the same relaxed brilliance as the title track on side one.

Arlo is a live album from 1968. It kicks off with The Motorcycle Song. Arlo does his usual comic attempt at audience participation along the way and tells the hilarious tall tale of how he came to write the song. Another classic!

That gets the listener firmly on board for the more straightforward folk rock songs to come because we like and trust him as a performer. 

With Arlo Guthrie you are in good hands!

The Original Motion Picture Score of the Alice's Restaurant film is a tough one because it includes material from the film soundtrack and Arlo's alternative studio version of the Alice's Restaurant Massacree. On the album it's split into two halves. It's not as good (it lacks the spark and fizzle) as the live one but still worth hearing.

Washington County was his third studio album. It has a variety of styles with the clear standout song being the haunting Gabriel's Mother's Hiway Ballad #16 Blues. Not far behind is his version of Bob Dylan's Percy's Song. I just love his easy delivery on these songs.

Last Of The Brooklyn Cowboys comes from 1973 with Arlo now deep into a successful career. Rather than being comfortable though, he's still trying new things and new textures.

For this one he's much more in country rock territory. It's a successful excursion and a wonder he hasn't done more albums in this genre.

The players are all excellent musicians. Consistent with his other seventies albums - Jim Keltner, Ry Cooder, Doug Dillard, and Lee Sklar feature on this one. The fiddle and banjo (and yodelling) are noteworthy ingredients.

Like Ry and Van Dyke Parks, Arlo manages to conjure up sounds and rhythms from the past in a contemporary setting that is utterly captivating.

His sixth studio album, Arlo Guthrie, is from the next year. Again featuring a large supporting caste of brilliant musicians. Ry Cooder's presence always indicates quality and he's a consistent participant.

The string arrangements take a little getting used to but the album features a brilliant version of Deportees so I shouldn't be so niggly. It's another strong album but not quite up there with his best.

Speaking of which - Amigo is surely a contender, along with Washington County and Last Of The Brooklyn Cowboys.

The music and the songs are terrific throughout. It even has a good version of a Rolling Stones song - Connections.

The final album in this collection is the live album, One Night. Usually, Arlo live is a sure bet but I'm not really a fan of the lengthy monologue about clams on side two. The rest of the album is fine, with musical backing by Shenandoah. It's not an essential one though.

Where do they all belong? Always keen to add to the Arlo collection, but I think I've now got the cream of the crop.

Nightrain (Guns n' Roses) (LP 2665)

Guns n' Roses  Live Era '87 - '93 (CD, Geffen Records, 1999) ***  

Genre: Rock

Places I remember: Hope collection

Fab, and all the other pimply hyperboles: You Could Be Mine

Gear costume: Welcome To The Jungle 

Active compensatory factors: I feel like I need to begin this post with an apology to Jo who I can guarantee will read this one. Sorry Jo, but this is my only Guns n' Roses album. I know. But I'm just not a fan.

At times the band annoys me. There's the hanging apostrophe in their name for a starter (I mean, that the...?); Axl's vocal affectations can grate; the bloated songs like November Rain also get my goat; and the overall bad boy drugs and swearing pose leaves me a little cold.

However! It's not all doom and gloom. I do love a few of their songs, and live seems to be the best way to hear Welcome To The Jungle, You Could Be Mine (what a great song), and Sweet Child O' Mine, as the studio versions have become a little too familiar. 

Also on the plus side: although these are songs from a variety of years and sources it sounds like a cohesive concert, with no fading of the audience between songs. Kudos where it is due - there is a uniformity of full-on committed attack from the band throughout the album.  

Where do they all belong? Again, apologies Jo, not looking to add to the GN'R collection!

Gulland rock (Gryphon) (LP 2664)

Gryphon  Midnight Mushrumps (CD, Sanctuary Records, 1974) ****  

Genre: Progressive rock; Medieval folk rock (!) 

Places I remember: Fopp

Fab, and all the other pimply hyperboles: Midnight Mushrumps

Gear costume: The Ploughboy's Dream

Active compensatory factors: If the band name didn't clue you in, the cover certainly gives the game away.

The appeal for me is in the combination of medieval and the modern. Most of my university papers in English were in either of those camps. So, the idea of Gryphon is close to my heart. And the music doesn't disappoint.

I've heard this album many times and it just skips by, mainly because it's largely instrumental, but also because the first song goes for 18 minutes. Therefore, it's difficult to pick standout tracks because it all seems to flow seemlessly.

Where do they all belong? Will definitely be on the lookout for other Gryphon albums.

Express man (Groundhogs) (LP 2657 - 2663)

Groundhogs  Blues Obituary (CD, Parlophone Records, 1968) ***  

Groundhogs  Thank Christ For The Bomb (CD, Parlophone Records, 1970) **** 

Groundhogs  Split (CD, Parlophone Records, 1971) ***** 

Groundhogs  Who Will Save The World? The Mighty Groundhogs (CD, Parlophone Records, 1972) **** 

Groundhogs  Hogwash (CD, Parlophone Records, 1972) **** 

Groundhogs  Black Diamond (Vinyl, United Artists Records, 1976) *** 

Groundhogs  Hogs In Wolf's Clothing (CD, HTD Records, 1998) ***  

Genre: Blues rock

Places I remember: The original album series 5 CD set is from Fopp; Black Diamond from Slow Boat Records; Hogs In Wolf's Clothing - The Warehouse

Fab, and all the other pimply hyperboles: Cherry Red (Split)

Gear costume: Groundhog (Split)

Active compensatory factors: The Groundhogs have compiled an impressive back catalogue that I continue to add to in my collection.

The band of Blues Obituary, Thank Christ For The Bomb, Split and Who Will Save The World? The Mighty Groundhogs was a power trio (Tony McPhee guitar, Peter Cruickshank bass, and Ken Pustelnik drums). Indeed, they were a powerful unit!  

Blues Obituary was their second album and their identifiable sound is fully in place by now. 

Over the course of this and their third album (Thank Christ For The Bomb) they just got better and better without losing their identity (mainly coming from the rumbling bass, McPhee's vocal delivery and his thrusting guitar style). This is well illustrated by last song on that third album - Eccentric Man.

The band liked concepts (Thank Christ For The Bomb has one for each side). On fourth album Split, they were looking at the idea of schizophrenia - split personalities. 

Split (the song) comes in four parts on side one and is amazingly well thought out and played. Cherry Red kicks off (no better expression) side two in a spectacular way - apparently done in one take and maybe their best song.

It gets a bit freaky on side two (suitably so) and Split remains, for me, their best album. It's so intense, but great to listen to.

Who Will Save The World? The Mighty Groundhogs is another favourite album of mine.

The cover is brilliant and the music expands somewhat to include mellotron to great effect. It's also brilliantly recorded again, thanks to Martin Birch. The guy was an absolute genius with sound.

Hogwash, their second album of 1972, continues the stellar run of exceptional records. It was certainly a purple patch. The band are still exploring new sounds - Hogwash has a lot of progressive rock experimentation while still keeping the signature Groundhog sound intact.

The first two expansive tracks are especially effective - I Love Miss Ogyny and You Had A Lesson. 

My Groundhogs' collection post Hogwash is a little spotty - just Black Diamond from 1976 and much later on in their history - Hogs In Wolf's Clothing from 1998. 

Only Tony McPhee is present once he rebooted the band post 1975.

Black Diamond, having more of a mainstream rock approach, is good but not great. Fair play to Tony though - he's still brave enough to go for new sounds/ approaches. Some work, some don't.

I do like a lot of Hogs In Wolf's Clothing. Blues titans like Howlin' Wolf were a huge influence of the original band and so it's only fit and proper that this album pays homage to him and Willie Dixon by working through a collection of covers.

Where do they all belong? I'm still looking for a copy of Crosscut Saw and a few other Groundhog albums.

I can hear music (Ellie Greenwich) (LP 2656)

Ellie Greenwich  Let It Be Written, Let It Be Sung (Vinyl, MGM Records, 1973) *** 

Genre: Pop

Places I remember: Second hand shop in Turakina (between Bulls and Palmerston North)

Fab, and all the other pimply hyperboles: Medley: Goodnight Baby-Baby I Love You  

Gear costume: I Can Hear Music

Active compensatory factors: Ellie is, of course, a famous writer of classic pop songs with her partner Jeff Barry.

Among the songs she wrote or co-wrote Da Doo Ron Ron, Be My Baby, Maybe I Know, Then He Kissed Me, Do Wah Diddy Diddy, Christmas (Baby Please Come Home), Hanky Panky, Chapel of Love, Leader of the Pack, and River Deep – Mountain High, among others.

Yes, we're in genius territory, plain and simple.

As a singer? She's fair to middling, with a pleasant voice but it's not a commanding voice (like say, Carole King's).

This album has her versions of songs she wrote with Barry and others. It's always lovely and while I still can't not hear the original vocalists (I Can Hear Music is The Beach Boys!) I still can enjoy the warmth and genuine quality of these songs.

Where do they all belong? A worthy addition (rubbish cover though from MGM).