Lindisfarne "BT3" 1969-2000(Rec) 2000(Comp)***

Nowadays Lindisfarne reminds me of the TV Series "Vikings" - you know, it's the name of that place where Ragnar & Co. murdered all the monks except Athelstan who went on to be one of the most annoying characters in recent TV history but somehow commanded the love and admiration of Viking warriors, Saxon kings and their daughters. Everyone's except good old Floki's, it seems, who put the series back on the track by killing him. But the so-called "holy island" of the Middle Ages has at least one more tie to popular culture: it gave its name to a British folk rock band from Newcastle-upon-Tyne which is now approaching its 50th year. They hit their peak quite early (1971) with their 2nd album "Fog on the Tyne" and had been cruising on low altitude ever since, even overcoming the loss of their principal songwriter Alan Hull in 1995. This CD is their 3rd compilation of rarities (the titular "BT" stands for "Buried Treasures") spanning 30+ years, something that would normally appeal only to dedicated fans. I'm not one, and I wouldn't have bought this if not for the fact that a certain record store had a 3-for-€5 offer and I couldn't find a better 3rd album. It turned out to be a good investment, not just because of the quality of music but also because this is a rare out of print item. The first (and earliest) track here comes from 1969 and is credited to an early incarnation of the band under the name Brethren. It's called "Positive Earth" and has an almost medieval Celtic folk sound. The live version of "100 Miles to Liverpool" is more country-oriented with banjo and harmonica. "Money" is electric folk rock a la Dylan circa '66, and "2 Way Street" a rollicking Southern rocker. Yep, this compilation is nothing if not eclectic. "Newport Mount Rag" is one of the reasons this comp is sought after by collectors. It's just a jaunty country instrumental, but it has the distinction of being Mark Knopfler's recording debut (from 1974, pre-Dire Straits) even if he plays banjo instead of his familiar Stratocaster. "Poor Old Ireland" is a typical Celtic ballad with flute and mandolin, but I doubt its vehemently anti-clerical message made it popular in the land of its title. Many lyrics display an old-school leftist sensibility - I'd say old fashioned, but with Jeremy Corbyn proving still popular despite attacks by the media, opponents and his own MP's, who's to say what's fashionable anymore? Perhaps Red is "the new black". The anti-music establishment "Corporation Rock" and duet "The One and Only" have a pleasantly nostalgic rock'n'roll oldies sound, while sprightly folk rocker "Drinking Song" sounds like Tom Petty jamming with Jethro Tull. "Heaven Waits" reminds me of Springsteen, "Log On Your Fire" of Bob Dylan, "We've Got All Night" the Travelling Wilburys."Checkin' on My Baby" is a convincing blues stomp by the reformed pre-Lindisfarne group Downtown Faction. A version of "January Song" included here features actor Tim Healy on vocals and acoustic guitar, "Dragon of Dreamland" is a Hull-penned children's lullaby and "Digging Holes" another blues rocker with Chris While and Julie Matthews on vocal. "Meet Me on the Corner" an impromptu performance of their big hit recorded by accident at a gathering of the Tynemouth Ladies Circle. In general, this is a surprisingly good collection given that it's the 3rd installment of rarities i.e. the scraping of the proverbial barrel. But the disparate nature of song styles, different eras and uneven recording quality don't make for smooth listening. I'd suggest to get something else by the band - except if you're already a fan, in which case it may well be worth spending an extra penny for a copy of this.

**** for Poor Old Ireland, Drinking Song [Demo Version] 

*** for Positive Earth, 100 Miles to Liverpool [Live], Money [Demo Version], 2 Way Street [Live], Newport Mount Rag, Corporation Rock [Live], The One and Only, Heaven Waits [Live], Log on Your Fire,  Dragon of Dreamland, Checkin' on My Baby [Live], January Song [Live], We've Got All Night, Digging Holes [Live], Meet Me on the Corner [Live]

Roger Waters "The Pros And Cons Of Hitch Hiking" 1984***

It was about 40 years ago that Roger Waters went to a Pink Floyd band meeting to discuss ideas for the band's next album. He had two ideas for a concept album already partly worked out in his mind, which he presented to the band complete with demos of some of the songs. The first one was about alienation and revolved around a rock star with childhood traumas, while the second was somewhat more abstract, having to do with the mid-life crisis and fantasies of an everyday bloke. The band discussed the merits of both, and predictably chose the one with the more well-defined narrative, which turned out to be their biggest hit ever, spawning a mammoth live show and successful film adaptation - I'm talking, of course, about The Wall.  The second idea was destined to become Waters' first solo album proper "The Pros And Cons Of Hitch Hiking", released when the band was technically in hiatus but had essentially practically already broken up. Even more than other Waters-penned concept works "Pros..." only makes sense as a whole - and even then hardly makes sense at all. Which doesn't mean that the writing is bad, quite the contrary. The album recounts the protagonist's dream, and evolves in real time. Every piece has a time-stamp denoting the time the dream takes place, while the story progresses with leaps as it usually happens in dreams - the subconscious throws unexpected pictures into the mix which the dreamer incorporates in the narrative. In the beginning he dreams he is on a holiday in Germany with his wife, when they pick up a couple of hitch-hikers. He feels lust for the female hitch hiker and has passionate sex with her. It is the only time sex holds a central position in a Floyd/Waters album, which brings me to the subject of the controversial cover art: racy covers were not rare in the late 70's - early 80's, but mostly by metal or funk bands, not something you'd expect by a former Floyd. So the picture of a shapely naked backside on the cover attracted criticism by many sides: Old Floyd fans found it crassly commercial, prudes too provocative (they managed to get the girl's bum covered with a black sticker in the U.S.) and feminists accused it as sexist and inducing to rape(?) - which was missing the point completely. The hitch-hiker represents the protagonists' repressed sexual desires, so he equipped her with a killer body, fetish red heels, and (something no-one else seems to have noticed) no face. 

My own gatefold. I had this on CD already, but I re-bought it on vinyl have a thing for collecting these with original uncensored covers.

By the way, the model is quasi-famous in her own right: Linzie Drew is a former groupie, glamour model and pornstar, as well as writer of a spicy autobiography. Musically the album sounds like the continuation of The Wall and The Final Cut. Eric Clapton on guitar makes for a great substitute for Gilmour, his bluesy style fits well with the music and provides some of the record's highlights, as in the uncharacteristically blues-rock "4.41 Am (Sexual Revolution)". I would have liked to hear more of him in the record, but he mostly provides tasteful fills rather than solos. Another great instrumentalist in this album is saxophonist David Sanborn whose solo literally lifts off "4.50 Am (Go Fishing)". Renowned composer Michael Kamen played piano and arranged the orchestral score. There's a lot always going back in the background, including special effects and dialogues by actors like Jack Palance and scenester Cherry Vanilla, which will be of interest for those who want to follow the story but are otherwise just distracting. The female backing singers add a bit of sugar to the mix, while strangely the weakest link is Waters himself on lead vocal: Always theatrical, he whispers and shouts but hardly sings. I'll admit he did exactly the same in The Wall without bothering me, but that was probably because I got caught up in the story. Furthermore The Wall left more space for the instruments while "Pros..." focuses more on the words. Here you'll also find the same quite/loud dynamic with sudden bursts as in The Wall e.g. in the start of "Running Shoes" which is similar to "In The Flesh". "4.39 Am (For the First Time Today, Part. 2)" reminds me of "Mother" and 4:47 AM (The Remains Of Our Love)" of "Don't Leave Me Now" from the same album. Meanwhile, the first 5 songs dealing with the protagonist's infidelity end with him waking up "...in a fever/The bedclothes were all soaked in sweat/She said `You've been having a nightmare/And it's not over yet'". The couple moves to the country and tries to start anew, but this fails and leads to the central character becoming a drifter/hitch hiker. He tastes the freedom of that life ["5.01 Am (The Pros and Cons of Hitch Hiking part 10)", the album's lead single and only straight-ahead rocker] as well as the loneliness ["5.06 Am (Every Strangers Eyes)", a poignant ballad]. In the end, he wakes up realising that his life isn't all that bad and finding solace in the arms of his wife ["5.11 Am (The Moment of Clarity)"] - which sounds about as appeasing as a hastily concocted happy end in a Hollywood movie. Listening to the whole album again, I find it's better than it's usually given credit for. Understandably, its similarity to The Wall leads to unfavourable comparisons, lacking as it does a really great standalone song like "Comfortably Numb" or "Another Brick In The Wall". Taken as a whole, though, it is a complex and at times rewarding listening experience. Pink Floyd (or just Prog Rock) fans should give it their full attention. They may end up loving it.

**** for 4.39 Am (For the First Time Today, Part. 2), 4.41 Am (Sexual Revolution),  4.50 Am (Go Fishing), 5.01 Am (The Pros and Cons of Hitch Hiking part 10), 5.06 Am (Every Strangers Eyes)

*** for 4.30 Am (Apparently They Were Travelling abroad), 4.33 Am (Running Shoes), 4.37 Am (Arabs With Knives and West German Skies) (2:21), 4.47 Am (The Remains of Our Love), 4.56 Am (For the First Time Today, Part. 1), 4.58 Am (Dunroamin, Duncarin, Dunlivin), 5.11 Am (The Moment of Clarity)

Huevos Rancheros "Dig In!" 1995***

Huevos Rancheros were a Canadian surf trio (1990-2000) which, according to wikipedia, "was (in its early days) sometimes described as a cross between Led Zeppelin and The Ventures". Well, maybe in the early days there was a bit a of Zeppelin in the mix, but by the time of their third album "Dig In" the guitar wasn't bluesy or heavy at all. And, like most instrumental surf music, this is mostly about guitar. The Ventures comparisons now yes, I understand: just listen to "Secret Recipe" or the mid-tempo "Where's The Bathroom" and "Girl From N.A.N.A.I.M.O." The album's highlight and lead single is undoubtedly the instrumental version of Frankie Laine's "Jezebel" with dazzling guitarwork reminiscent of Dick Dale and enough Mexican/Western flavour to justify the band's name. Some Western twang creeps up here and there "American Sunset", the grungy "64 Slices Of American Cheese", and rockabilly-ish "Go West Young Bee". There's a welcome 60s garage flavour in the farfisa organ of "Go West Young Bee " and Yarbirds-like intro of "Who's Your New Girlfriend?", 50's rockabilly in "Rockin' Lafayette" and the unnamed hidden track, wild psychobilly in "Rockin' In The Henhouse" and "Gump Worsley's Lament", while "Whiteout In Wyoming" and "Evacuation" add a bit of spy-movie mystery to the mix. Like the dish that gave the band its name, it's all about tasty ingredients combined well. Huevos Rancheros do have the necessary touch, but surf music is a rather limited genre, so despite their best efforts it still sounds a bit samey to my ears.

**** for American Sunset, Who's Your New Girlfriend?

*** for Secret Recipe, Whiteout In Wyoming, Rockin' In The Henhouse, Where's The Bathroom (In Spanish), 64 Slices Of American Cheese, Gump Worsley's Lament, Evacuation, Rockin' Lafayette, Go West Young Bee 

** for Girl From N.A.N.A.I.M.O.

P.S. I started this blog picking random albums from my collection to review, but nowadays I'm either reviewing my latest acquisitions or stuff I feel like writing about. The inspiration for picking this particular CD was my girlfriend's delicious huevos rancheros. Here's the recipe for those who'd like to try it out: First make the refried beans. You'll need 250gr. black beans, 2 onions, 2 garlic cloves, oil, a bay leaf, salt and pepper. Soak the beans overnight, boil with a bay leaf and some salt and pepper, and drain them. Keep 1 cup of the water. Heat a pan, add 1 spoon of oil and the onion and garlic finely choped. Add the beans and water from the boiled beans. Keep stirring until the beans burst open, then squash everything with a fork. If you're in a hurry you can also use canned refried beans, but I can't guarantee it'll taste the same. Warm the tortillas on the pan and leave them in a bowl to get a cup-like shape. Then make the sauce: grind one tomato and boil it with a garlic clove, one jalapeno pepper, salt/pepper/sweet paprika powder and a couple spoonfuls of tomato paste for 3-4 minutes. Put it through the blender for a smoother texture. Warm some oil on the pan and fry the eggs. When the white is done, turn it over for 10-15 seconds so that the yolk will be cooked but just a little wet inside. Use the tortilla as the base, add 2 tablespoons of refried beans, the fried egg, salt and pepper and tomato sauce on top. Serve with coriander. Yummy!

The Sultans of Ping "Teenage Drug" 1994***

I vaguely remember liking this band back in the 90's but never had any of their albums until recently when I found this CD at a record fair, sold along with others by semi-forgotten bands for €1. When I say SoP are semi-forgotten I mean by wide audiences and the British music press that sang their praises once upon a time. Not so in their birthplace of Cork, Ireland, where they apparently enjoy the status of local legends second only to Rory Gallagher and have been giving sold-out concerts since they reformed a few years ago. The band had a strong humorous streak, as evidenced by their Dire Straits-mocking name and breakthrough hit "Where's Me Jumper?" Teenage Drug is their second album, featuring (mostly) fast-paced indie glam/punk pop anthems with irreverent and funny lyrics. The music reminds me often of The Damned, early Manic Street Preachers, as well as the band they were often lumped with back in the day, Carter USM. The eponymous opener "Teenage Drug" is a catchy indie guitar rocker, followed by "Wake Up & Scratch Me", surprisingly kicking off with harmonica and sounding like a glam boogie played by The Fall. "Teenage Punks" is another short punk number with a chorus that sounds just like Franz Ferdinand, quite a few years before their formation. Together with Jam rip-off "Michiko" they're the two hit singles from the album. The latter (about a long-distance love affair with a Japanese girl) ensured international success from the Emerald Isle to the land of the Rising Sun - but very little in the places between. "Terrorist Angel" is a cool song that reminds me of The Pixies' surf moments, while "Teenrage Rock & Roll Girl" and "Telephone Lover" recall Clash circa '77. Lastly, some seemingly out-of-place folk ("Sisters") and jazz ("Pussycat", "Red Cadillac") flavoured tunes towards the end just slow the album down. All in all "Teenage Drug" contains some nice punk-pop songs, but there's a reason few still remember them out of their home country - it all sounds a bit too familiar. On the other hand, as I was just listening to the CD on the car stereo on my way from work it got me humming along and nodding my head, and that's always a good sign. 

**** for Teenage Drug, Wake Up & Scratch Me, Teenage Punks

*** for Michiko, Love & Understanding, Terrorist Angel, Teenrage Rock & Roll Girl, Telephone Lover, Red Cadillac and BLack Moustache

** for Curse, Psychopath, Pussycat, Sisters, Pussycat

Talk Talk "Laughing Stock" 1991****

For years my opinion of Talk Talk was informed by their early synth pop hits which I had heard as a teenager. Like early Depeche Mode, I found them tolerable to my rock sensitivities but that was about it. I hadn't really followed their evolution until I was prompted to do so by the reviews on music magazines and reference books. Apparently, band leader Mark Hollis decided that early taste of success was enough for him and embarked on a musical journey that saw him gradually break free from pop conventions to produce ever more ambitious but uncommercial sonic landscapes. "Laughing Stock" is the end result of this transformation, an atmospheric experimental work closer to prog and jazz than it is to pop and rock. By that time only Hollis and drummer Harris remained of the old band, augmented here by a multitude of guest musicians (no less than 18 can be heard on the final result, though many more joined the sessions). Guests were encouraged to improvise on a simple rhythmic backdrop and their contributions incorporated in an intricate game of cut and paste. The album is comprised by 6 long songs, though it can also be viewed as one long atmospheric piece. There are intense and loud moments, but mostly it's subdued and hypnotic. Contrary to other, musically clattered, "prog" albums, it's spacious with long silent pauses. It reminds me of Eno's ambient solo albums, Can and even Tangerine Dream - though synths here take a back seat to organic strings and horns. It would make the perfect soundtrack for an atmospheric thriller, deceptively soothing but with a dark streak. Opener "Myrrhman" is introduced by a long silence and remains a very sparse and moody affair with hushed vocals. "Ascension Day" is a meatier song, with melodic vocals and some loud outbreaks. This one reminded me of Peter Gabriel circa late 70's. "After The Flood" has a slow rhythmic backbeat and improvised jazzy sections, though still retaining the traditional song structure. Hollis sings quietly but with urgency. "Taphead" is another sparse tune with murmured vocals, temporarily coming alive in the middle with a great trumpet part. It's followed by the gorgeous "New Grass". More than elsewhere in this album musicians play with instead of against each other, and the vocal is fragile but beautiful. At slightly less than 5 minutes, "Runeii" is the album's last, shortest and less remarkable song. Predictably the record was a commercial failure and the band disbanded soon after, though I think it wasn't a question of "Nobody's listening to us" but of "We've said all that was to be said". Hollis effectively retired from music altogether, while the fame of his last album continued to grow. It's now considered a masterpiece and the mother of all post rock, venerated by bands like Elbow and Bon Iver while its influence can also been seen in the neo-prog of Porcupine Tree and Radiohead.

***** for Ascension Day, After The Flood, New Grass

**** for Taphead

*** for Myrrhman, Runeii