Blondie - Dreaming

Blondie effortlessly glided through punk, new wave, pop, disco, ska, and even rap, producing a purple patch of superlative hit singles in the late 1970s,  the seminal  "Parallel Lines" album spawning two UK number 1 singles. 

A hard record to follow, but the "Dreaming", the first single from the next album is a good as anything they or anyone produced in that era.

Adhering to their normal work pattern, guitarist Christ Stein composed the melody, and on this occasion supplied partner / lead singer Debbie Harry a clue with the phrase "dreaming is free". She embraced the idea by penning a great mediation on reality and dreams.

Opening with a great couplet (“When I saw you in the restaurant / You could tell I was no debutante”), she quickly describes being accosted for date. However Harry is no pushover and prefers to live in her dreams with her ideal man ("I never met him, I'll never forget him").

There is a poignancy in her mundane life, so she reverts to an pleasurable pastime ("Dream dream, filling up an idle hour"). From the illusion of disposable pop, she is able to address mature subjects. 

Curiously I also read an analysis that successfully overlays the lyrics to the plot of the classic "Brief Encounter" film, but found no confirmation from Harry.

Recorded live in the studio, the unrelenting pace is defined by Clem Burkes's ferocious drumming. An integral part of the Blondie sound, he is even more pronounced here with a career peak. Harry's vocals are urgent and breathless, with a nice 1960s homage by including backing vocals from the famed songwriter Ellie Greenwich.

"Dreaming" continued their success in UK, peaking at number 2, another step in their uninterrupted procession of greatness. Even after reforming, they hit number 1 again with the peerless "Maria". A classy and appealing artist producing timeless radio classics.

Hear Now - https://www.youtube.com/watch?v=TU3-lS_Gryk

Hear Next -  " Parallel Lines" is their most famous album, but newcomers may prefer the hit-laden "Greatest Hits" compilation.

** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats - https://tinyurl.com/y43mbr2b 

10,000 Maniacs - These Are Days

Natalie Merchant is one of my great favourite artists, but has a strange dichotomy. In interviews she seems shy and demure, and her solo albums exquisite. However when I saw her in concert she was a whirling dervish, stamping her feet, tossing her hair and throwing her body manically - probably the most passionate performer I have seen.

I first heard her when a friend lent me a tape of her first group 10,000 Maniacs' excellent "In My Tribe" album, and I loved her voice. College radio favourites like R.EM., but never really (deliberately?) made the leap to mainstream success. 

As lead vocalist and lyric writer, Merchant was the focus, but after ten years, felt constrained, so gave the band two years notice of her departure (very honourable). Their final studio album together "Our Time in Eden", was typically attractive folk-rock, containing two upbeat and catchy singles, that failed to crack the US top 60.

A pity because "These Are Days" deserves to be heard more, an uplifting and  jubilant celebration of a moment in time. She asserts that this is the perfect time ("Never before and never since, I promise") in euphoric tone - her voice is always wonderful.

On closer inspection, it could be gentle advice to a teen to take their time ("When May is rushing over you with desire") or an expectant mother ("touched by something / That will grow in you,"). She had already tackled the stress of an unwanted pregnancy in "Eat for Two" so this would be a nice counterpoint.

With so much focus on Merchant, it is easy to overlook the great soft rock backing. Led by co-writer Robert Buck's jangling guitar and an swirling organ, they supply the effervescent environment to match her words.  

There was a farewell with an MTV Unplugged and headlining a Bill Clinton inauguration ball (opening with the appropriate "These Are Days"), before they went their separate ways. 10,000 Maniacs released four more albums, but with little success. Merchant pursued a critically acclaimed solo career with her debut "Tigerlily" selling over five

 million copies.

"These Are Days" is a feelgood classic from a dazzling singer and a memorable group.

Hear Now - https://www.youtube.com/watch?v=Z-HLxpWGCzc

Hear Next -  "In My Tribe" is the best 10,000 Maniacs album and "Tigerlily" the best Natalie Merchant solo album.

Jason Isbell - Elephant

It is rare to find a perfect album with no weak tracks, but for me, one great example is 2013's  "Southeastern" by Jason Isbell. A collection of acutely observed songs, tackling big issues with empathy and pathos.

I had been barely aware of his previous group "Drive-by Truckers", but it took a rave review in Uncut magazine to alert me to the magnificence of his 4th solo studio album. Recorded at a  time of change,  as he had just come out rehab for alcohol issues, and would soon marry fellow musician / fiddler Amanda Shires. So he dispensed with most of his normal hard-rocking backing group 400 Unit, as he felt this song cycle  would be more acoustic and reflective.

The album don't shy away from difficult subjects with vignettes of sexual abuse ("Yvette"), addiction  ("Cover Me Up") or even a serial killer ("Live Oak"), mining his own experiences or writer's gift. It could be deeply depressing in other hands, but Isbell allows chinks of light with  love songs for Shires, and light arrangements, with guest spots for Shires' fiddle or Kim Richey's backing vocals.

Certainly the most moving moment  is "Elephant",  a heart-wrenching elegy for a long term friend dying from  with cancer. His role of Andy, has a checkered past, but steps up to help. Easing her through her terminal decline, sharing drinks, jokes, joints, and country songs. The unnamed friend was sassy, but is fading quickly ("She don't have the spirit for that now"), so they keep avoiding the elephant in the room.

Isbell doesn't waste a word, evoking distressing scenes, with an eye for detail, such as sweeping her hair from the floor.  It is a fictional story, but he stated it was based on an Alabama bar, where he noticed regulars would disappear.

 

He concludes with the sombre "No one dies with dignity", and there shouldn't be a dry eye left.  The contemplative feel is provided by sparse acoustic guitar and piano, with his cool baritone vocals.

I could have easily chosen any track from "Southeatern", but "Elephant" is the centrepiece, a moving and impressive depiction.

Hear Now - https://www.youtube.com/watch?v=LHJhyrrUTgc

Hear Next -  "Southeastern" is the best Jason Isbell album, but " Something More Than Free" isn't too far behind.

** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats.

Mike McGear - Leave it

 I don't listen to many podcasts, but I like to feed my  Beatles addiction with the excellent "Nothing is Real" - a witty and insightful exploration of varied topics. So I was curious when they eulogised the recent rerelease of  the 1974 "McGear" album, and soon agreed it is an obscure gem.

It cannot have been easy to be the brother of Beatle, but Mike McCartney forged his own path. Adopting the alias McGear, he pursued hairdressing, photography and immersed himself in Liverpool's bohemian scene. Teaming up with Roger McGough and John Gorman to form The Scaffold, blending poetry, humour and music, they even scored a Christmas number 1 with "Lily the Pink".

The Scaffold  led to Grimms,  but after departing acrimoniously from their tour, "our kid" volunteered to help him with a solo single. A session was arranged at the famed Abbey Road studios, with Paul producing "Leave It", co-written with Linda.  They also roped in the current lineup of Wings to play, and the presence of Denny Seiwell dates it as late 1973.

A jovial and playful paen to a lover ("I wanna help you to celebrate"),  typical of Paul's early and prolific 1970s work, but with Mike's humorous style evident ("I dearly love her artichokes"), veering on risque ("Peeling off her underwear"). Mike's vocals are good, and I love the way he sings "It's gone away".

A bouncy and feelgood tune is enhanced by the tight Wings' backing, and a thrilling saxophone from Tony Coe.

They were so happy with the single, they proceeded with recording a whole album at Strawberry Studios in early 1974, with Paul again at the helm.

"Leave It" was a minor ht, reaching 36, but the album disappeared, and never received its due credit. Thankfully I, and many others have now been able to discover it after 45 years. An offbeat delight that helped to pass the quarantine.

Hear Now -  https://www.youtube.com/watch?v=LBS0iLH2mJ8

Hear Next - The Cherry Red rerelease of "McGear",  includes two CDs and a DVD.  

The Special AKA - Nelson Mandela

As Billy Bragg pondered "Mixing pop and politics, he asks me what the use is", can political music change the world ?  From Bob Dylan to Band Aid, music has had significant impact, or at the very least, raised awareness and hope. The Special AKA and "Nelson Mandela" in 1984 brought many, including myself, the first  insight into the plight of the jailed South African ANC leader.

The leader of the Specials, keyboardist Jerry Dammers had been energised by attending a concert for Mandela's 65th birthday, still in prison for over 20 years. He decided a protest song was required, with a group effort. The Specials had metaphorized the Special AKA group, so they formed the basis, as he added ex-Special Lynval Golding, members of the Beat, Afrodiziak and producer Elvis Costello. And two girls that the drummer met in a pub !

Despite the bleak subject, "Nelson Mandela" feels  joyous and infectious. The African styled acapella opening features Caron Wheeler (later in Soul to Soul) and the great Claudia Fontaine (not a well known name, but anyone from the 1980s will recognise her face). It then bursts into life with an irresistible energy, guided by the trumpets and drums. 

Stan Campbell's vocals are light but powerful, as he describes Mandela's suffering and resilience ("His body abused, but his mind is still free "). A beseeching plea ("Are you so blind that you cannot see?") and a rousing mass chorus of "Free Nelson Mandela".  Concise, but effective, it makes it point without heavy handed lecturing.

"Nelson Mandela" achieved its aim, reaching the top 10 and publicised the cause across TV and radio (including two Top of the Pops appearances). Subsequent efforts including Artists against Apartheid, "Sun City" single, and a Wembley concert, maintained a worldwide pressure until his release in 1990.

No one danced to Bob Dylan or Joan Baez, but  "Nelson Mandela"  was compulsive.  A perfect match of pop and politics.

Hear Now - https://www.youtube.com/watch?v=AgcTvoWjZJU

Hear Next -  The Specials often tackled politics, including the classic 80s  "Ghost Town".

Ike & Tina Turner - River Deep Mountain High

Phil Spector is eccentric, violent, controlling, even a convicted murderer, but also a musical genius, responsible for some of his finest singles of the 1960s. "River Deep Mountain High" is the last but greatest moment from his famed "Wall of sound" productions of densely layered constructions.

In 1966 Spector's career seemed to have stalled after a  run of sparkling hits, rivalling Motown in teenage operas of love and pain. He knew Tina Turner could be the solution, so struck an agreement with her record label and placated partner / husband Ike (who would be credited, even though he didn't contribute anything).

The designated song came from Spector working with the recently divorced songwriting duo Jeff Barry and Ellie Greenwich (they had already supplied several Spector hits such as "Be My Baby" and "Da Doo Ron Ron"), pulling together three separate tunes.

The recording took five painstaking sessions, the first three for the backing track with the famed Los Angeles "Wrecking Crew" session musicians, directed by Jack Nitzsche. No expense was spared as he brought in four guitarists, four basses, two drummers, three keyboards and a large brass section. They recorded all together, with few overdubs, as Spector  preferred the live sound.

Tina Turner's first vocal session was unsuccessful, confused by the song's structure and intimidated by the 20 backing singers. She finally nailed it to Spector's satisfaction in the fifth session, after endless takes, sweat pouring, standing in her bra.

But it is worth it, as "River Deep Mountain High" sounds like nothing else, the condensed overload of instruments with signature echo reverb is oppressive and best heard in mono. Turner's thunderous vocals, rising and falling, just when you think she cannot give any more listen to the her screams at 2.50. A stunning tour de force.  A fervent love for her man, childish comparisons to a beloved rag doll and puppy are  inadequate ("But only now my love has grown / And it gets stronger in every way").  Not the most original concept, but devastating with the performance.

Widely acclaimed in Europe, it peaked at number 3 in the UK, but astonishingly only crawling to 88 in the USA. Perhaps it was too primitive, unusual or just ahead of its time.  Spector was devastated, and apart from some Beatles' production, slide into reclusive retirement.  

Today "River Deep Mountain High" is rightly regarded as a classic, regularly appearing on best ever lists. A fitting tribute to a great but flawed mastermind.

Hear Now - https://www.youtube.com/watch?v=pWK7v0gIHLo

Hear Next -  The 4 CD Phil Spector  "Back to Mono" is an essential box set.


** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats - https://tinyurl.com/y43mbr2b 

Regina Spektor - On the Radio

I cannot remember where I first heard Regina Spektor (hopefully it was on the radio), but my first purchase was the "Begin to Hope" album in Buenos Aires in 2007, instantly captivated, it remains one of my favourite albums. She had already released three prior CDs, (two of them self-released) but this was more accessible and appealing. 

Born in Moscow during the Soviet Union times, Spektor loved playing the piano, continuing after the family's emigration to New York., when she was 9.  Her early releases were classified as anti-folk, but she soon encompassed pop, singer-songwriter, blues or even theatrical. Scarily smart, her lyrics are frequently peppered with witty, foreign languages, cultural and literary references.

"On the Radio", the first single from the album, has the typical Spektor trademark piano, but now adding beats for a more radio-friendly pop song, while still retaining enough quirkiness for the devoted fan.

The subject could barely be wider, as she tackles life and death, similar to the great Russian writers, but in her case in four minute song. She covers growing up ("You're young until you're not"), family,  love ("walking arm in arm"), heartbreak, resilience ("do it all again") and finally death. There is an encouragement is to enjoy your life and treasure happy memories, like a  favourite song - (Guns & Roses' "November Rain" name-checked)  played twice on the radio ('Cause the DJ was asleep").  

Then of course, there is her glorious idiosyncratic singing - utilising her range, often doubling as an instrument, affectations, hiccups ("uh-oh"), like a 21st century Buddy Holly. You may not like the songs, but you will never bore of her vocal gymnastics.   

Spektor never really hit large mainstream success, but earned a loyal fan base, including Jenji Kohan (who requested the theme song for "Orange is the New Black" ). A quirky and rewarding artist.

Hear Now - https://www.youtube.com/watch?v=tHAhnJbGy9M

Hear Next -  "Begin to Hope" is the best album to explore first.

China Crisis - Wishful Thinking

January 1984 saw another Scouse monopoly with seven of the UK top 20 hailing from Merseyside. Paul McCartney jostled with Frankie Goes to Hollywood for number 1, alongside  the classics  "Killing Moon" by the Bunnymen and "Love is A Beautiful Colour" from the Icicle Works.  A proud moment for the musical city.

At number 9 were China Crisis with the sublime "Wishful Thinking". Highlighting another trend, that apart from the Beatles and Roxy Music / Captain Beefheart influences, of electronic and fey pop, from OMD, Lotus Eaters and Flock of Seagulls.

China Crisis, emerged from Kirby, as a typical 80s synths new wave band, always comprising of Gary Daly and  Eddie Lundon. For their second album, "Working with Fire and Steel", they expanded their sound, moving away from electronica,  by adding a real drummer, bass and crucially an oboe player. Heralding the start of a brief but glorious age of smooth China Crisis classics.

I have never paid too much attention to the lyrics of "Wishful Thinking", but on inspection, it is an intriguing and emotive meeting between former lovers (Human League covered similar ground on "Louise"). The man suddenly suspects that her son may be his ("I see the likeness in his smile"), so he gently brooches the subject with the tearful mother ("Forgive me for asking").  

Normally Daly would sing the lead vocals, but on this occasion it is Eddie Lundon, and does a fine job. The keyboard backing is rich and attractive, but the highlight is a wonderful oboe part from Steve Levy. 1980s pop groups were eager to try different sounds, and an oboe also featured in the Dream Academy.

With their increasing confidence, they approached Walter Becker (from their heroes Steely Dan) to produce their third and best album Flaunt the Imperfection, spawning another two excellent singles "Black Man Ray" and "King in a Catholic Style". 

The hits may have dried up, but China Crisis are still touring today with Daly and Lundon in place. A fondly remembered but underrated band, with a mellow and laid-back vibe, typical of 1980s.

Hear Now - https://www.youtube.com/watch?v=oj20LKdg8-8

Hear Next -  Either " Working with Fire and Steel" or " Flaunt the Imperfection ".

Van Morrison - Tupelo Honey

Mark Ellen coined the maxim "there are two types of people in the world - those that like Van Morrison and those that have met him".  I enjoyed seeing him in concert, but no chat between songs, seemingly adhering to his curmudgeon reputation. Perhaps the latest in a heritage of Irish mystics, his timeless music transcending any truculence. There should be no doubt that he cares for his music.

"Tupelo Honey" is a beguiling and rambling seven minute love song to his wife Janet, the passionate vocals set against the easy-going sound. Bob Dylan, a big fan, praised that it felt like it must have always existed and Van Morrison acted as a channel.

Written at a Woodstock retreat in New York, it was recorded for his fifth solo album after his 1971 move to San Francisco. Tupelo is a much prized and rare honey, from bees feasting on tupelo trees in Georgia and Florida (but a nice coincidence as Elvis Presley's birth place).

A joyful tribute to his sweetest love ("angel of the first degree"), he cannot praise her too highly, straining every superlative ("she's alright, alright with me").  But it also doubles as a celebration of the quest for liberty ("You can't stop us on the road to freedom"). I have always assumed it related to American civil rights movement, but it would have also been topical for Ireland or Vietnam too. 

Morrison's vocals are the key focus, gruff, free and unrestrained, even shouting towards the end. You have to love his pronunciation of "granite". A force of nature, even more admirable that it was captured in a single take, with no overdubs.

The sound is always hard to classify, merging elements of soul and country, but with jazz flourishes. So why bother ?  It is Van Morrison music ! The band are very tight, a prominent saxophone and piano, with flute, guitars and drums supporting. Sounds likes they had been playing together for years, but really were assembled specifically for the album.

He loved the melody so much, forming the basis of the previous year's "Crazy Love" and revisited it again later on "Why Must I Always Explain?". A conceit he exposed himself with a seamless concert medley.

Dusty Springfield recorded an admirable cover (included an additional verse), but Van Morrison's original is superior - a heartfelt and mesmerising love song.

Hear Now - https://www.youtube.com/watch?v=3DbTIKHYwog

Hear Next -  "Astral Weeks" is the certified classic, but newcomers might prefer the "Best of Van Morrison".


** The book of "Song from a Quarantine" is now available  on all Amazon sites in paperback and ebook formats - https://tinyurl.com/y43mbr2b 

Morrissey - Suedehead

A common dilemma today is how to regard musical heroes disgraced by sex scandals, assaults, or even murder ? Can we separate the work from the performer ? In the case of Morrissey, his support of the far right wing, seems particularly frustrating as his songs were witty, compassionate, empathic and sensitive to outsiders in society.

"Suedehead" from 1988 remains my favourite Morrissey moment - a typical Moz tale of unrequited love. His first solo release since the split of The Smith, the single appeared on the specially reactivated HMV label, showing love of tradition (it is no coincidence that his autobiography was released as a Penguin paperback).

Stephen Street replaced Johnny Marr as his musical foil, co-writing, playing bass and producing. The band was completed by Vini Reilly on guitar / keyboards and Andrew Paresi on drums.

As normal, Morrissey's lyrics are opaque, and he provided little insight in interviews. It seems like a poignant account of  the aftermath from a  previous sexual encounter ("a good lay"). The partner (his lyrics are rarely gender specific) is irritated by their subsequent attention ("why send me silly notes ?"), which then verges on obsession, as he pries into their diary. A major violation in Morrissey's world, although I am curious why his diary has illustrations.

The name suedehead was given to an offshoot of the skinhead culture, immortalised in the novel of Richard Allen, but the song bears no relation, as he simply liked the word.

There is not much difference between this and his Smiths work - the trademark Morrissey tremulous and mannered phrasings are still in place, more crooning than punk. Obviously Marr's guitar is sorely missed, but the addition of strings is a classy touch.

"Suedehead" must have felt like vindication, as it soared to number 5 in the UK chart, instantly topping any Smiths' single. Its caused aided by a typically artistic video featuring Morrissey's pilgrimage to James Dean's hometown and grave.

Morrissey has always shocked and outraged, but we should always remember the special and idiosyncratic talent with tracks like "Suedehead".

Hear Now - https://www.youtube.com/watch?v=0AvuweztG4Q  and I also adore this Mexican mariachi version from the tribute group Mexrrissey   - https://www.youtube.com/watch?v=4Zh-89Hg2K0

Hear Next -  The solo debut "Viva Hate" or "Years of Refusal" are my favourites.