Uncut's Weirdest Albums Of All Time (?)

A few months ago Uncut Magazine published  this list of their "101 Weirdest Albums Of All Time". A relative failure, if  judged by the title, as these albums are in no way the weirdest of all time: You have cult favourites, sonic experiments, bad or atypical albums by mainstream artists and, yes, genuinely out-there stuff existing in the twilight between genius and madness. Cover star Captain Beefheart certainly belonged to the latest category. I can't relay my emotions on hearing his Trout Mask Replica LP. Having heard it was a masterpiece, I bought it at a record bazaar in my late teens. I tried to like it, but to my ears it sounded like an incompetently played mix of blues and psychedelia. I promptly sold it, only to buy it again on CD twenty years later. I figured I had to have it in my collection but I haven't yet decided if I like it. Skip Spence's Oar belongs to the same "weird masterpiece" category, albeit a much more listenable one. Syd Barrett's solo albums are strangely absent but Floyd's The Final Cut is included. Why The Final Cut? It's by no means Floyd's weirdest (my vote would go to Ummagumma or Atom Heart Mother), more like a needless addendum to The Wall. And why Hüsker Dü's Zen Arcade? Bold for its time but certainly not an a par with Captain Beefheart in terms of weirdness. And Pere Ubu's New Picnic Time is neither their best nor -in my opinion- their strangest. 

White Noise's "Electric Storm" is a charmingly bonkers mix of folk and proto-electronica, and while Aphrodite’s Child's "666" is certainly mad, it's only slightly weirder than your average 70's prog concept album. Crazy times, the 70's. I blame the LSD, its effect keeps reverberating a decade later.

Winds Of Change is one of my all-time favourites, and I never thought of it as being weird. I guess you could call a track like "The Black Plague" somewhat dark, but weird? Hmmm, maybe there is a point there... In any case, the whole list seems rather random, but it nevertheless makes for interesting, if challenging, listening. 

The albums I mentioned already, along with a few others, are in my collection so I'll have the chance to present them here in the future. Some others (e.g. Dee Dee Ramone's rap LP) I don't own any more and yet others are still in my shopping list. It'd be cool to own e.g. Zaireeka on vinyl, even if it is comprised by 4 LP's that need to be played simultaneously - which makes it almost impossible to play. The majority of these albums I've never heard, but I aim to rectify this omission. I publish the whole list here, so you can do the same...

1. Todd Rundgren – A Wizard, A True Star – 1973

2. John & Yoko – The Wedding Album – 1969

3. Lou Reed & Metallica – Lulu – 2011

4. Joe Meek – I Hear A New World – 1991

5. Scott Walker – The Drift – 2006

6. Butthole Surfers – Locust Abortion Technician – 1987

7. Sun Ra – Disco 3000 – 1978

8. Lee Perry – Cow Thief Skank – 1973

9. Jandek – Ready For The House – 1978

10. John Tilbury – John Cage: Sonatas & Interludes For Prepared Piano – 1975

11. Captain Beefheart & The Magic Band – Trout Mask Replica – 1969

12. White Noise – An Electric Storm – 1969

13. Mike Patton – Adult Themes For Voices – 1996

14. The Residents – The Third Reich ‘N’ Roll – 1976

15. Aphrodite’s Child – 666 – 1972

16. Art Bears – Winter Songs – 1979

17. Chris Gaines – Greatest Hits – 1999

18. Faust – Faust (Aka Clear) – 1971

19. Sheldon Allman – Folk Songs For The 21st Century – 1960

20. Sham 69 – That’s Life – 1978

21. Portsmouth Sinfonia – Plays Popular Classics – 1974

22. Skip Spence – Oar – 1969

 23. Comus – First Utterance – 1971

24. Frank Zappa – Lumpy Gravy – 1968

25. Alvaro – Drinking My Own Sperm – 1977

26. Various Frogs – Sounds Of North America

27. Denim – Novelty Rock – 1997

28. Flaming Lips – Zaireeka – 1997

29. Chris Butler – The Devil Glitch – 1996

30. Lucia Pamela – Into Outer Space With Lucia Pamela – 1969

31. Julian Cope – Skellington – 1989

32. Moondog – Moondog – 1969

33. Half Japanese – Half Gentlemen/Not Beasts – 1980

34. Godley & Crème – Consequences – 1977

35. Throbbing Gristle – 20 Jazz Funk Greats – 1979

36. Gong – Flying Teapot – 1973

37. The Fiery Furnaces – Rehearsing My Choir – 2005

38. Lil B – Rain In England – 2010

39. David Peel & The Lower East Side – The Pope Smokes Dope – 1971

40. Spirit – The Adventures Of Captain Kopter… – 1981

41. Yat-Kha – Re-Covers – 2005

42. Martin Denny – Exotica – 1957

43. The Cosmic Jokers – The Cosmic Jokers – 1974

44. Robert Ashley – Yellow Man With Heart With Wings – 1990

45. Marc Bolan & T.Rex – Zinc Alloy And The Hidden Riders Of Tomorrow – 1974

46. Ivor Cutler – Dandruff – 1974

47. Robert Mitchum – Calypso Is Like So… – 1957

48. John Coltrane – Ascension – 19??

49. Rudimentary Peni – Pope Adrian 37th Psychristiatric – 1995

50. The Shaggs – Philosophy Of The World – 1969

51. Magma – Mekanik Destruktiw Kommandoh – 1973

52. Sonny Bono – Inner Views – 1967

53. Armand Schaubroeck Steals – Rat****er – 1978

54. John Oswald – Grayfolded – 1994

55. General Magic + Pita – Fridge Trax – 1995

56. Sonic Youth – Syr4: Goodbye 20th Century – 1999

57. Robert Calvert – Captain Lockheed & The Starfighters – 1974

58. Holy Modal Rounders – The Moray Eels Eat The Holy Modal Rounders – 1968

59. Kim Fowley – Outrageous – 1968

60. Paul Horn – Inside – 1968

61. Third Ear Band – Third Ear Band – 1970

62. Slint – Spiderland – 1991

63. Hampton Grease Band – Music To Eat – 1971

64. Ya Ho Wa 13 – Savage Sons Of Ya Ho Wa – 1974

65. The Osmonds – The Plan – 1973

66. The Frogs – It’s Only Right And Natural – 1989

67. Pere Ubu – New Picnic Time – 1979

 68. Caetano Veloso – Araca Azul – 1972

69. Circle One – Patterns Of Force – 1983

70. Lewis – L’amour – 2014

71. David Stoughton – Transformer – 1968

72. The Fall – Dragnet – 1979

73. Centipede – Septober Energy – 1971

74. Michael Nesmith – The Prison: A Book With A Soundtrack – 1974

75. The Beatles – Love – 2006

76. Royal Trux – Twin Infinitives – 1990

77. Elvis Presley – Having Fun With Elvis On Stage – 1974

78. AA Allen And His Miracle Revival Ministries – 19??

79. The Group – The Feed-Back – 1970

80. Eric Burdon & The Animals – Winds Of Change – 1967

81. Bobb Trimble – Harvest Of Dreams – 1982

82. John Greaves/Peter Blegvad/Lisa Harman – Kew.Rhone – 1977

83. RD Burman/Various – Hare Rama Hare Krishna – 1971

84. Lucifer – Big Gun – 1972

85. Shooter Jennings – Countach (For Giorgio) – 2016

86. Wild Man Fischer – An Evening With Wild Man Fischer – 1969

87. John Fahey – Requia – 1967

88. John Cale – The Academy In Peril – 1972

89. Current 93 – Swastikas For Noddy – 1988

90. Tom Russell – Hotwalker – 2005

91. Neil Young – Trans – 1982

92. Ra-X – The Opium Den (Parts I-IV)

93. Freddie And The Dreamers – Over In The Overworld – 1971

94. Husker Du – Zen Arcade – 1984

95. Various Artists – Great Googa Moogal – 2003

96. Fred Frith – Guitar Solos – 1974

97. R Kelly – Trapped In The Closet – 2005

98. Cromagnon – Orgasm – 1969

99. Dee Dee King aka Dee Dee Ramone – Standing In The Spotlight – 1989

 100. Merzbow – Merzcar – 1994

101. Pink Floyd – The Final Cut – 1983

Rank and File "Sundown" 1982****

 This is considered a seminal "cowpunk" album - but is that a good thing? If there was ever an unappealingly named genre, this surely must be it. The Kinman brothers were members of a politically charged California punk band (The Dils) before relocating to Texas and teaming with guitarist Alejandro Escovedo to create Rank & File. Thankfully their new band didn't sound like California punks engaging in musical tourism, but quite the opposite: like a bunch of youths with a country & western background who are nevertheless free of traditionalist restraints trying to find their place in the 80's music scene. And a place they did find, even in MTV, an unlikely medium for former socialist punks. Their political affiliations are still sometimes lyrically evident (as in the exploited workers of "Rank And File") but mostly take second place to their attempt to reclaim country music from the conservative/reactionary establishment. One can detect a slight Clash influence, but mostly it's country/roots music played with a modern (for the 80's) new wave sensibility. Bands like The Long Ryders and Uncle Tupelo picked up on what they did and took it further, which brings us to the present-day alt.country movement (much better title than cowpunk, don't you think?) 20-something years later, the label "Collectors Music" made their music available on CD which helped people rediscover them, but original vinyl LP's like this are easy to get second hand, and cheaper. The record opens with "Amanda Ruth", a Byrds-ian folk rocker showcasing the Kinman Bros' harmonies, one of their most remarkable features - one of them has a sweet high voice and the other a booming low one, quite the combination. Closer "Coyote" is similar fare, albeit with a surprising dub reggae interlude. A bit of reggae (not to mention B52's-like new wave and 50's teen pop) is also discernible in the excellent title song. "(Glad I'm) Not In Love", "I Went Walking" and "I Don't Go Out Much Anymore" are sprightly country & western with twangy guitars, while "The Conductor Wore Black" sounds like Johnny Cash fronting a ska band pulling the Good Ole' Boys routine from the Blues Brothers - if you know what I mean. In any case, it's awesome. Of the rest, "Sundown" is mid tempo straight C&W and "Lucky Day" a tender ballad. Not one weak song in the bunch! There aren't many bands making me want to go "Yeee Haw!!" - but these guys do...

***** for The Conductor Wore Black 

**** for Amanda Ruth, (Glad I'm) Not in Love, Rank and File, Sundown, I Went Walking, Lucky Day, Coyote

*** for I Don't Go Out Much Anymore

Megadeth "Peace Sells...But Who's Buying?" 1986****

Metal fans will know this already, but to me it came as a revelation while watching the music documentary "Some Kind Of Monster" on DVD : Megadeth leader Dave Mustaine was a founding member of Metallica - the original lead guitarist, to be precise. In the movie, Metallica are facing an "existential" crisis and going through group therapy. As a consequence they finally decide to talk with Mustaine about the time they threw him off the band. He gets emotional about the perceived injustice of it, and cries in front of the camera. He later asked them not to show this moment on film, but of course they ignored him because he had given his written consent before the filming. For those who don't know the story, the other members had secretly arranged to replace him as soon as their tour ended. After the last gig (in New York) they told him he was fired and left him with only a bus ticket to L.A. (a four-day journey) while they flew to their destination with their new guitarist to record their first album, including songs written by Mustaine. And the moral of the story is: Metallica are assholes. Of course we all knew it already from the napster trial, when they turned against their own fans for downloading their music. And, in any case, this isn't about Metallica. It's about Mustaine's next band.

Peace Sells... but Who's Buying? is Megadeth's second album, recorded with the band in various stages of drug abuse and homelessness. It quickly gained acceptance in metal cycles and is now considered a pivotal album of early thrash metal. Like their peers (the so-called Big 4 included Megadeth, Metallica, Slayer and Anthrax) they dealt in ultra-fast drumming and aggressive vocals, but they also had the advantage of two highly skilled guitarists (Mustaine and Poland) who could both lay one fast riff after another as well as play shredding solos. Lyrical themes include the occult, sex, violence, and -a rarity in this genre- the odd social commentary. Opener "Wake Up Dead" is a tight number with a catchy riff, while "Conjuring" builds up slowly, beginning with satanic incantations before evolving into another riff-fest. The anti-establishment title track opens with a playful bass line and continues with an infectious riff and Sabbath-y chorus. The lyrics are partly spoken (don't call it rap) and partly sung. The band made a suitably aggressive promo video for it (their first) which got them some MTV exposure. While the first three tracks touch perfection, from here on there's a slight drop in quality - not that there's anything wrong with the galloping rhythms of "Devil's Island" or more conventional metal of "The Last Words". "Good Mourning/Black Friday" and "Bad Omen" are more complex compositions, even including acoustic passages, but somewhat directionless despite the great playing. "I Ain't Superstitious" is the odd song out, a classic blues in Zeppelin vein. I don't know what their fans made of it, but I enjoyed it. The CD reissue adds four alternative early mixes which aren't drastically different to my ears. If, on the other hand, you're overtly familiar with the album you may appreciate the small differences. Last but not least, the cover is as iconic as the music, featuring Megadeth mascot Vic Rattlehead in front of a post-apocalyptic U.N. building. I'm guessing that, if you like thrash metal, you already know this album inside out. If you're not familiar with the genre, this is a good place to start. Just press play on the youtube clips below.

***** for Peace Sells 

**** for Wake Up Dead, The Conjuring, Devils Island, My Last Words

*** for Good Mourning/Black Friday, Bad Omen, I Ain't Superstitious

Uncut's albums of the year 2017

I always look forward to end-of-the-year lists, buying all the relative magazines and going through their highlights-of-the-year sampler CD's, even for a period compiling my own mix CD's to distribute among friends. So I was quite happy this morning to find the new Uncut with the years' review at the train station just before my 2-hour ride to work. I'm now in the middle of it, and I felt like sharing my surprise that, for the first time, not only do I not own a single album of this year's "75 Best", but nothing even piques my interest. I mean, I know I may like the new National or Robert Plant, but was I looking forward to another album by them? Not really. Even less so the reunion albums by Ride and Slowdive. They used to be OK in the 90's, but has anyone actually missed them? As for this year's No.1, LCD Soundsystem? They managed to reform before anyone even noticed they had retired. I'll take Uncut's masterpiece-izing of the album with a grain of salt. At least there's The Boss on the cover stating he "has never done an honest day's work" in his life. Coming from the man who sheds buckets of sweat at every gig, this sets a pretty high standard for the rest of us. Anyway, I'll listen to the CD when I get home and hopefully will hear something to be excited about....

Radio Birdman "Zeno Beach" 2006****

I've always been a big fan of these guys, for years their surf-punk anthem "Aloha Steve And Danno" has been the standard opener for my mix tapes. I never thought I'd get to see them live as they belonged to another continent (Australia) and time (the late 70's). But, inevitably, they succumbed to the trend of cult bands reforming to reap the rewards of posthumous fame. In 2006, with a brand new album in tow which almost nobody had heard yet, they played at the AN Club, a -literally and figuratively- underground establishment at Exarchia, my old neighbourhood which huffingtonpost has described a "punk disneyland", an entertaining but incorrect description. But if that analogy had any merit, AN would be among the main attractions. Lots of great concerts have taken place there. It has a low ceiling and the stage pits artists and audience within touching distance, which makes rock gigs an intimate experience. On the other hand it's extremely stuffy, especially since nobody in Greece observes the non-smoking regulation. That night the place was packed, literally no place to move. Well, not exactly true, you could move to the music in tandem with everyone else, but if you wanted to scratch your nose or something, it required contortionist's abilities. Great fun, nevertheless - a real rock'n'roll night of the kind you rarely experience any more, filled with tons of energy and excitement. With any doubts removed from witnessing this concert, I went ahead and bought Birdman's latest CD, which I'm reviewing today.

1976 is commonly regarded as punk rock's year zero, but Radio Birdman formed in 1974 (same year with The Ramones, albeit half the world away) which explains why they're usually described as proto-punk. The band's Australian core was augmented with Deniz Tek, a medical student from Detroit who had witnessed the fury of The Stooges, MC5 and Grand Funk first-hand, and who took it upon himself to transplant the Motor City's garage rock sound to his new home. Radio Birdman's music bristled with punk energy, melodic hooks and aggressive hard rock guitars but that only brought them local hero status, and they disbanded in '78. Unbelievably and unexpectedly, almost three decades later, they just pick up from where they had left without missing a beat. Rob Younger's singing may be less throat-shreddingly loud, but he can carry a tune better than ever, while Masuak and Tek's double guitar attack hasn't lost any of its power. Pip Hoyle's keyboards are more conspicuous than before, while he also wrote two of the album's best songs, the penultimate Blue Öyster Cult-like mid tempo rocker "The Brotherhood of Al Wazah" and infectious surf-punk closer "Zeno Beach". Opener "We've Come So Far (To Be Here Today)" functions like a statement of intent, exhibiting the frenetic pace, hooks and deft solos we had come to expect of the band at their peak. It is a recipe often repeated in the album, always with success. There are variations, of course: the glam stomp of "You Just Make it Worse", flower power of "Die Like April", Nuggets garage rock of "Hungry Cannibals", metal chug of "Locked Up" and Doors-like psychedelia of "Heyday". Never a dull moment with this album - I hope celebrated young guns like The Hives and Strokes are taking notes: watch and learn, boys: this is how you do it!

***** for We've Come So Far (To Be Here Today), The Brotherhood of Al Wazah, Zeno Beach

**** for You Just Make It Worse, Remorseless, Found Dead, Connected, Die Like April, Heyday, Subterfuge, Hungry Cannibals, Locked Up

*** for If You Say Please

Roy Loney and The Longshots "Shake It Or Leave It" 2007****

If there ever was an album worth of a PLAY LOUD! sticker, it could have been one of the first three Flamin' Groovies albums. Think Rolling Stones circa '65-68, add some wild rockabilly and pump them full of adrenaline and you'll get an idea how they sounded. Yet they all flopped - a clear case of wrong time (late 60's-early 70's) wrong place (hippy San Francisco). It wasn't until they toured England together with The Ramones in '76 that they were hailed as the keepers of the original rock'n'roll flame, but at that point their lead singer/screamer Roy Loney had left the band, and with him most of the edge was gone: that version of The Groovies took a more melodic, Beatles-inspired, approach. After leaving the band on '71, Roy resurfaced with other bands and sporadic albums, always flying under the radar. As evidenced by this effort, his staying on the edge of the music business, had nothing to do with a lack of skill or inspiration: his voice hasn't lost any of its power and the 12 original songs here display his compositional skill in a variety of styles: from his familiar Stonesey rock (opener "Baby du Jour" and closer "Hey Now") and rawdy rockabilly ("Big Time Love", the 80-second "Raw Deal") to less explored sounds like the spaghetti western "Big Fat Nada" and atmospheric psychedelia of "Subterranean Waterfalls". Other high points include the jangly folk rock of  "The Great Divide" and garage dynamite "Don't Like Nothin'", the latter heavy on fuzz guitar and vocal sneer. "Danger Waves" is a short surf rocker, "Hamlet's Brother, Happy" a whimsical slice of Anglophile pop, "Miss Val Dupree" a ? And The Mysterians-like farfisa garage rocker and "Looking for the Body" a rockabilly-ish tune seen through the prism of an English pub/punk rock band. The musicians include some talented players like Scott McCaughey (Young Fresh Fellows/REM), Deniz Tek (Radio Birdman) and Mark Pickerel (Screaming Trees), and the outcome is a record of timeless and classy rock'n'roll, which once again failed to win the appreciation of the masses. What do they know, right?

**** for Baby du Jour, The Great Divide, Big Fat Nada, Raw Deal, Don't Like Nothin'

*** for Big Time Love, Danger Waves, Subterranean Waterfalls, Hamlet's Brother Happy, Miss Val Dupree, Looking for the Body, Hey Now

Roy Loney & The Longshots "Baby Du Jour"

Rory Gallagher "Against The Grain" 1975***

If this album is often overlooked it's probably because it was recorded between my (and, I suspect, everyone's) favourite Gallagher albums, "Tattoo" and "Calling Card". A bit like the shortest guy in a basketball team who doesn't look all that short when you meet him on the street, "Against the Grain" is actually a very good, well produced, blues rock album. The band's playing is impressive, there's a nice variation in tempos and styles and there aren't any weak songs - but neither are there any real classics. "Let Me In" opens the album with some hard rock riffing, while "Cross Me Off Your List" is more jazzy with playful guitar solos. Rory displays his softer side in the, relatively more commercial, ballad "Ain't Too Good" before embarking on a slide guitar extravaganza on "Souped-Up Ford". Lou Martin provides some nimble accompaniment - his piano is generally very upfront and his interaction with Rory's guitar provides some of the album's highlights. "I Take What I Want" is a lively soul cover (from Sam and Dave) that evolved into a live favourite, while "Lost at Sea" strays from the blues into almost prog territory. It's followed by the most typical blues here "All Around Man" and another cover, Leadbelly's "Out On The Western Plain".  The latter is, surprisingly as it's a stark country-tinged number, the record's highlight with Gallagher playing acoustic with aplomb and sounding delighted to delve into the Wild West mythology. The original LP used to close with "At The Bottom", a very well-written and played Southern rocker but this reissue adds two nice bonus tracks: short blues instrumental "Cluney Blues" and jaunty boogie "My Baby, Sure". Confusingly, each CD version has a different cover, all featuring a photo of Rory's beat-up old Sratocaster (this one is from the 2011 U.S. edition). Definitely an enjoyable album, so just crank it up and get your air guitar ready...

***** for Out on the Western Plain

**** for Let Me In, Cross Me Off Your List, Ain't Too Good, At the Bottom

*** for Souped-Up Ford, Bought and Sold, I Take What I Want, Lost at Sea, All Around Man, Cluney Blues, My Baby Sure

Dr. Feelgood "A Case Of The Shakes" 1980***

I have a few of these "Original Album Series" collections, usually featuring 5 CD's by the same artist in cardboard sleeve miniatures of the original LP cover. They're cheap and don't take a lot of shelf space, which makes up for the absence of booklets and the like. Since, unlike other box sets,  they contain entire albums in separate CD's, I'm reviewing each album apart. "A Case Of The Shakes" is the 5th and last Feelgood studio album with Gypie Mayo on guitar. Gypie had a difficult task ahead of him, replacing Wilko Johnson who had an impressive stage presence and an uncanny ability to play lead and rhythm guitar all at once. Mayo did well -actually the band had its biggest hit singles during his tenure- but there's no denying there was a law of diminishing returns at work here. "...Shakes" is considered by some (e.g. allmusic.com) to be a return to form but I'll beg to differ. I'm not partial to Nick Lowe's production in this one. Apparently he tried to capitalise on their acceptance among the punk/new wave crowd by cranking up the volume, shortening the songs and removing most solos.  It's true that some songs gain in punch but they sometimes sound hurried, and the band less invested in them. Just compare the low vocals and stiff playing in the, nevertheless catchy, "No Mo Do Yakamo" with the swinging live version on next year's "On The Job". Funky opener "Jumping From Love To Love" fares better, as do the fast punky numbers. These include "Going Some Place Else", "Best In The World", "Punch Drunk", and the rockabilly-ish "King For A Day" and "Who's Winning". All are co-written with Lowe or his guitarist Larry Wallis (former Pink Fairies/Motorhead) and signify a move away from the band's blues roots. It's telling that Brilleaux plays almost no harmonica in this album, with the exception of a great solo in "Punch Drunk". When they do touch on blues they provide two of the album's highlights: the relaxed ballad "Violent Love" and boogie rocker "Love Hound", both originally written by Otis Rush. The two band compositions closing the album are also very strong: "Drives Me Wild"is a garage rocker and "Case Of The Shakes" (at 2:52' the album's longest song) a Bo Didley-like stomp. In the end I enjoyed the album, there are some good tunes in it, but I found Lowe's production a bit too stiff (is it coincidence his company was Stiff Records?). This short and sharp approach may work well for punk bands with lots of energy but limited musical abilities, but The Feelgoods had it all, and they could use some more room to move.

**** for Jumping From Love To Love, Drives Me Wild, Violent Love

*** for Going Some Place Else, Best In The World, Punch Drunk, King For A Day, No Mo Do Yakamo, Love Hound, Who's Winning, A Case Of The Shakes

** for Coming To You

Red Lorry Yellow Lorry "Smashed Hits" 1982-1986(rec) 1988(comp)****

Back in the late 80's I used to have one side of a cassette of Red Lorry Yellow Lorry which was at least a third generation tape, maybe more -meaning that I had copied it from a friend who had copied it from a friend who also wasn't the original LP owner. It was the analogue version of today's file sharing. Even then, record companies were complaining that "home taping is killing music" adding this slogan to LP inserts and music ads. Pretty heavy claim, coming from the greedy suits who had been robbing artists for years and tried to bury everything interesting and original in order to peddle their own prefabricated pop shit. Serves them right they nowadays survive by selling ringtones, though the whole situation kinda sucks for the workers in record pressing plants, a noble profession slowly going down the drain. When I'm cataloguing my records and CDs and see every one of denotes "made in EU" (or UK/US/Japan etc) I can't help but think of the people who made them and of the jobs lost in these places. Just one more reason for me to keep buying music in material form - next to the fact it actually sounds way better than shitty MP3s played on a shitty laptop or a mobile phone. And don't pretend it's normal, exchanging your stereo for a frigging telephone, a device that should forever have stayed connected to your home line. Think of the beautiful old round dials and the noise they made when you turned them with your finger. And of the receivers, feeling so sturdy in your hand. Think of all the bones and heads that wouldn't have broken if people had been watching their step instead of their phone screen while they walk. OK, enough - grumpy old man signing off for now...

"Smashed Hits" is a compilation of early singles, the title being a clever wordplay between the commercial pop Smash Hits magazine/compilations and getting smashed/drunk. It seems rather short, but it's of normal duration for an LP - it remains the only R.L.Y.L. compilation ever issued in vinyl, though I have the CD version myself. Listening to it now, I'm immediately transported to the late 80's and the alternative bars of the Athens Exarchia neighbourhood where I spent my student years: Iris, Allothi, Oktana and the recently resurrected Decadance. Alcohol-fueled late nights, legions of black-clad youths and punks with dangerously pointy hairstyles, deafeningly loud post-punk music: The Sisters of Mercy, Bauhaus, Killing Joke, The Sound...and less celebrated bands like R.L.Y.L. Coming from such a background, how could I not like it? Soundwise, R.L.Y.L. is a very typical dark wave band of the era: angular guitars, throbbing bass, and rousing, rhythmic, quasi-military drums courtesy of Mick Brown who'd later join The Mission. The compilation opens with first single "Beating My Head" (1982) and "Take It All" (1983) both betraying a strong Joy Division influence. On later singles they would adopt an even darker sound with Chris Reed's sinister vocals reminiscent of Bauhaus ("He's Read" 1983, "Hollow Eyes" 1984) and Sisters of Mercy ("Monkeys On Juice" 1984, "Spinning Round b/w Hold Yourself Down" 1985). Later singles like "Cut Down" (1985) and "Chance" (1986) continued in the same dark mood and relentless pace. Now that I think of it, the total absence of ballads sets this album apart from other "goths" of the era. Maybe there is some truth in their allegations that they were not goths at heart but rather influenced by garage/punk bands like Wire and MC5. The CD contains two 1984 B-sides not present in the LP: "Push" is an instrumental and "Feel A Piece" is another fast Sisters of Mercy-like tune. If you like the bands mentioned above, you should definitively check out R.L.Y.L., they're among the best of the era. "Smashed Hits" would be a solid but incomplete introduction, as it contains essential early singles but ignores album tracks and post-1986 material.

***** for Beating My Head, He's Read, Hollow Eyes, Hold Yourself Down

**** for Monkeys On Juice, Feel A Piece, Generation, Spinning Round, Cut Down, Chance 

*** for Take It All, Push

Nick Cave & The Bad Seeds "Skeleton Tree" 2016****

This was the 6th or 7th Nick Cave concert I've witnessed in a period of 30 years. I've seen Cave the self-destructive junkie, Cave the bible-wielding madman and fantastical murderer, Cave the troubadour of love, Cave the damned poet, Cave the singer of the underworld, even Cave the mid-life crisis hard rocker (about the time he also took to wearing a 70's pimp moustache). So when I entered Amsterdam's Ziggo Dome on October 6, I didn't know who to expect. Cave the grief-stricken father, perhaps? The shocking story of his 15-year old son Arthur's death (he fell off a cliff after taking LSD with a schoolmate) had dominated Cave-related news in the last years, and this tour is the first after that personal tragedy. At that point I hadn't heard the new album yet (it was delivered to me on the same morning) but some youtube excerpts seemed to point to a rather depressing bunch of slow songs. I was somewhat apprehensive of a night of morose piano balladry, but I needn't have feared: this was the Nick Cave we've known and loved for 30 years: visibly affected by his experience, but not beaten. Did he seem angry? Yes. Dark and broody? Absolutely - but then these words have been synonyms of "Nick Cave" forever. Haunted? Maybe. Lyrical? Philosophical? More than ever. Also theatrical and energetic as always, and keen to connect to his audience, often losing himself in the crowd and leading many of them onstage for the encore. The Bad Seeds were impeccable as usual, despite the absence of Cave's former lieutenant, Blixa. One minor quibble for old fans like me was the over-reliance on "Skeleton Tree" material (7 songs), but both the new songs and what we did hear of the old favourites was played fervently. So, upon returning to my house after a very saisfying concert, it was with a positive attitude that I listened to "Skeleton Tree" for the first time.
The cover certainly doesn't forebode anything good, being a simple green font on black background, like a PC monitor from the 80's. I mean sure, sometimes the lack of artwork can be a kind of art statement (think of The Beatles' "White Album") but this is just blunt and ugly. The album opens with "Jesus Alone"'s eerie synths, while its first lines seem to address his recent loss in a shockingly direct manner "You fell from the sky/Crash landed in a field/Near the river Adur". A litany of lost characters follows, as if summoned from the purgatory by Cave's incantation "With my voice/I am calling you". "Rings of Saturn" is an atmospheric, ambiguously erotic, song with Cave reciting rather than singing - something he does more often as his poetry gets longer and more complicated. "Girl In Amber" is a poignant ballad, many of the lyrics once again seemingly vaguely referencing his son's death. It ends with the repeated warning "Don't Touch Me", a phrase you'd expect to hear from someone with a raw wound. "Magneto" is a slow tune with atmospheric synths over which Cave half speaks and half sings in a voice reminiscent of Van Morrison circa Astral Weeks. "Anthrocene" is another rumination on humanity and loss set on a slow trip hop beat while "I Need You" has at once the most accessible melody and most heartrending, despairing lyrics and vocals. "Distant Sky" is a transcendental song, featuring a church-like organ and the crystal clear voice of Danish singer Else Torp (in the concert, her part was a recording) in stark contrast to Cave's (he sings desperately: "They told us our dreams would outlive us/They told us our gods would outlive us/But they lied", she answers with hope: "Let us go now, my only companion/Set out for the distant skies/Soon the children will be rising, will be rising/This is not for our eyes". The same-named "Skeleton Tree", which closes the album is a sorrowful ballad which nevertheless ends with the mantra "it's alright now", signifying acceptance if not actual catharsis. One can't help but be affected knowing the personal tragedy behind the making of this album, but even if it was possible to ignore the facts, it'd still remain a deep and emotional work of art by one of the last great poets and performers in rock.

**** for Jesus Alone, Rings Of Saturn, Girl In Amber, I Need You, Distant Sky, Skeleton Tree

*** for Magneto, Anthrocene

Rebels Without A Cause "Naked Lunch" 1987***

This is the second band from Ravenna Italy I present in this blog, after The Cavemen. Both play pure garage/rock'n'roll, which may be more indicative of my own music tastes than of that city's music scene. After all, Italian rock is usually melodic rather than frantic - although the Rebels don't lack in the melody department, they mostly deal in high energy rock'n'roll. Not that I knew what they were about when I bought this record, I just liked the trashy aesthetic of the cover and put my faith on the record label Electric Eye, the Italian indie that released the classic Sick Rose LP's in my collection. The first track "Rock Me Baby" certainly has similarities with that band, being a straight energetic garage rock'n'roll number with vocals that reminded me of The Rose's Luca Re. On the whole, despite obviously coming from the punk/alternative scene and retaining the energy and rawness associated with it,  The Rebels also have a rootsy Americana sound evident e.g. in the 8-minute R&B workout "New York Girl" or the rockabilly "She's On Fire" with its Django-like solo.
"It's Only A Different Love" is a groovy rocker with heavier guitar while mid-tempo closer "Situation Of My Head" is reminiscent of 80's paisley underground bands or contempoary American college radio indie pop. This mini LP (plays at 45RPM wih a total duration of 27 minutes) manages to include 5 songs in slightly different styles, but all the influences blend together harmonically thanks to the distinctive vocals and excellent guitarwork of leader Davide Piatto. It has never been released on CD, and neither have the bands' 2 LP records that followed it. The bands' full discography is available to listen on Soundcloud. If you like what you hear you'll be pleased to learn that there are enough cheap 2nd hand copies on sale at discogs and elsewhere.

**** for Rock Me Baby

*** for New York Girl, She's On Fire, Situation Of My Head

** for It's Only A Different Love

The Rolling Stones "Blue & Lonesome" 2016****

The day before I started writing this entry I went to see The Rolling Stones play for the second time in their lives (well, mine too of course). 20 years ago they had impressed me with their energy and ability to create excitement live. This time I was rather apprehensive: could they still put on a great show now they're in their seventies? Well, let's put it this way: they're not doing their legacy any disservice. Yesterday they didn't seem to have aged a single day. Keith's face may now look like a Halloween rubber mask but he's still got that mischievous look in his eye and he can still shake a stadium with a simple riff of his guitar. As for Jagger, he's in ridiculously good shape. If he ever dies he should donate his body to science - if he still has some body left, he seems to be shrinking in size as he's getting older. But of course we didn't pay a pretty penny to see if they're holding up well, it's all about the music, and one can't complain in this department. The band were playing well and the setlist was nearly perfect - even Keith's "Slipping Away" came at the right time to use the restroom or get beers from the bar. Other than that, the only songs that weren't stone-cold classics were the two blues covers from their latest album, and these were played with obvious gusto and skill. 
"Blue & Lonesome" was an unpredictable move from one of rock's most predictable dinosaurs: For decades now The Stones had been following the routine new album/huge tour/commemorative live cd. Big groups need new releases to promote on tour, to keep them from looking like a nostalgia act. Building tours around archive compilations like 40 Licks and GRRR was getting old, so they had to enter the studio again and come up with new material. After their 80's slump, their albums had been craftmanlike, neither exciting nor embarassing so one would normally expect more of the same. But instead of spending months honing in new songs as planned, they had an outburst of spontaneity, returning to their roots and the common love which brought them together: the Blues. Beginning the recording sessions with a blues cover just to warm things up, they found out they were enjoying themselves too much to stop playing blues and go back to trying to emulate their former glories. Three short days later, the band that took its name from a Muddy Waters tune and cut their teeth as Alexis Korner's sidemen had recorded its very first pure blues record as well as their first all covers album. They made a point of covering many relatively unknown classics, including no less than four songs by Muddy Waters' harmonica player and Chess Records solo artist, Little Walter. These include downhome blues "Just Your Fool" and "Blue And Lonesome" as well as the more jump blues-like "I Gotta Go" and "Hate to See You Go". The renditions are traditional in style, recreating without imitating the smoky atmosphere of 50's Chicago joints where this music was born. They're the most direct music they have done in decades, the band being super tight and recorded for the most part live straight to tape. The guitarists exchange licks without drowning the songs in solos as is too often the case in modern blues. Keith of course is not your typical lead guitarist (Woods played most of the solos in yesterday's concert), this kind of material would be perfectly suited to Mick Taylor, his counterpart in The Stones circa 1969–74. One can imagine how this album would have sounded with Taylor by listening to "Everybody Knows About My Good Thing" which contains some melting slide courtesy of guest Eric Clapton who plays in a similar style to Taylor. Clapton also plays lead on the closing "I Can't Quit You Baby". A bold move by The Stones, taking on a song made famous by Led Zeppelin. The Stones' version is emotive and powerful - maybe not as powerful as Zeppelin in their youth, but then again what is? The two Clapton songs count among the album's best, together with the Little Walter tracks, Jimmy Reed ballad "Little Rain", blues rocker "Ride 'Em On Down" and Howlin' Wolf's "Commit A Crime". Looking at him one can't imagine Jagger sounding as menacing as Wolf, a man twice his size with a voice to match. But Jagger is the most pleasant surprise here. I would expect Woods and Richards or seasoned sidemen like Chuck Leavel to be in their element playing traditional blues, but Jagger is the one that sounds the most rejuvenated by this project. His vocals are emotive and powerful, he has swagger when appropriate and oozes pain in the bluesier pieces. Above all, his harmonica playing throughout is one of the record's highlights. Being a "mere" covers album I doubt this will go down in history as one of the great Stones' records. Despite that, there's no denying it contains their most spirited playing in decades - not to mention it's the best British Blues album since the genre's heyday with John Mayall's Bluesbreakers and Peter Green's Fleetwood Mac.

**** for Just Your Fool, Commit a Crime, Blue and Lonesome, I Gotta Go, Everybody Knows About My Good Thing, Ride 'Em on Down, Hate to See You Go, Little Rain, I Can't Quit You Baby

*** for All of Your Love, Hoo Doo Blues, Just Like I Treat You

Peter Gabriel "Peter Gabriel" AKA "2" AKA "Scratch" 1978****

This is Peter Gabriel's 2nd album, called simply "Peter Gabriel". That's cool, many singers have an eponymously called album, usually their debut. Gabriel, though, used the same name for his debut, then for his second record, then for his third, and his fourth. So critics gave them numbers or names to tell them appart: This is usually called either "2" or "Scratch" because of its cover. The grim cover photo is just another indication that Gabriel wasn't about to go out of his way to be pleasant and make new fans. Another indication is his choice of producer: Robert Fripp was anything but a hitmaker, though his unconventional guitar sound was much in demand. Around the same time he played in albums by David Bowie, Brian Eno, Talking Heads and Blondie, among others. Despite the fact that singer and guitarist used to front two of the most distinguished progressive rock outfits (i.e. Genesis and King Crimson), this album is sonically closer to New Wave while retaining Prog's tendency to experiment. Of the first two songs "On The Air" is a rocker with an aggressive raw vocal and synths reminiscent of The Who's "Baba O Reilly", while lead single "D.I.Y." is another uptempo rocker with funky bass and edgy vocals. On the excellent ballad "Mother Of Violence" he's thoughtful and emotional, accompanied mostly by acoustic guitar and classical piano. "A Wonderful Day In A One-Way World" is a surprisingly simple song melding reggae and new wave the way early Elvis Costello albums did. "Indingo" has a sparse late-night jazz feel, but the rest of the album isn't as straightforward. "White Shadow" and "Flotsam And Jetsam" are a couple of more uncoventional prog ballads with pensive piano, while "Exposure" sports a repetitive funk riff and Fripp's heavily manipulated guitar effects, a technique he called Frippertronics. "Animal Magic" is an upbeat rocker with bar room piano and nimble guitar and "Perspective" a straight glam rocker that reminded me of Lou Reed. The album closes with another ballad demonstrative of its often perceived as "cold" and "unforgiving" nature: the main character seeks fullfillment in the married bliss of a well-ordered family life, only to find himself shackled in misery and living in a slum. When his wife kills herself and their child, he tries to gamble the compensation money away, only to win big. Finally he gets to buy the "Home Sweet Home" of his dreams. The story, told in dramatic style with wistful piano and saxophone, was perceived as misogynistic by some, tragic by others, and darkly humorous by others yet. Gabriel deliberately obscures the spirit in which he wrote the song. The album in general is dominated by quite oblique lyrics and music, so it's no surprise it's not among his best loved. Yet there's no denying there's a musical genious at work here...

**** for On The Air, D.I.Y., Mother Of Violence, A Wonderful Day In A One-Way World, Animal Magic

*** for  White Shadow, Indigo, Exposure, Flotsam And Jetsam, Perspective, Home Sweet Home

Color Humano "Color Humano 2" 1973***

Although Argentina has a rich rock history, few bands are known internationally - with the exception of Los Fabulosos Cadillacs, of whom I have quite a few albums and will present them here in time. A few band names ring a bell, including Color Humano about whom I had read in some blogs. So when I found this CD in a used records shop in Granada Spain I managed to ignore the bad cover art, recognise it as an interesting rarity and buy it. Info on them in English is rare, but this is what I gathered from various sources: This band was largely the brain child of Edelmiro Molinari (guitar/vocals) former member of legendary 60's rockers Almendra. Not ignoring, of course, the contributions of agile bassist Rinaldo Rafanelli and powerful drummer Oscar Moro who joined the band after their debut. The band obviously had a wonderful instrumental chemistry, and that's especially obvious in the longer, jazzy improvised pieces. This CD joins their last 2 LP's, recorded together with the intention of releasing a double album but released separately at the time for financial reasons as "Color Humano 2" and "Color Humano 3". This album cover comes from "3", while number "2" featured the band facing forward. The music is heavily influenced by the great rock power trios Cream and Jimi Hendrix Experience but it's not derivative. It often strays into jazz and prog directions with the band improvising and changing pace many times in the same song. As I said, the virtuosity and chemistry of the musicians is commendable, the only sore point being the lead vocals, which resemble not so much singing as a person speaking in a pompous, drawn-out manner. Opening track "Sangre Del Sol" sees the band settling on a repetitive groove while the singer sings above it. A slower middle section reminds of Zeppelin's "Whole Lotta Love", a trick they repeat in other songs as well. It's an OK introduction, but somewhat monotonous for my taste. "La Tierra Del Gitano" is the opposite, a proggy piece with an improbable number of time changes for its short duration. "Pascual Tal Cual" is a dynamic rocker with an impressive solo, though this also slowly fizzles out in the end. "Humanoides" is a ghostly psychedelic piece, and "Va A Salir Un Lugar" a 13-minute improvisation showcasing the musicians' versatility. Especially the rhythm section finds room to shine here. "Un Blues Para Adelina" is, for once, a straight blues number with Molinari successfully channeling his inner Clapton. This rounds up CD1 or what used to be the Color Humano 2 LP. Moving on to CD2 (aka Color Humano 3), this seems to be better realised despite the fact it was recorded during the same sessions. It was released a few months later so it probably benefited from some more time of overdubbing and mixing. Opener "Hombre De Las Cumbres" is a complex mid tempo piece with a nice guitar solo while "Mañana Por La Noche" once again shows them excel at traditional blues forms. Maybe the best Spanish-language blues I've ever heard. "A Traves De Los Inviernos" combines crunchy hard rock with Floydian (Meddle-era) psychedelia and "Hace Casi 2000 Años" is a classic rocker that reminds me of Hendrix and Uriah Heep until it gets more ethereal with the help of some ghostly female vocals. "Cosas Rústicas" is another prog piece with many tempo changes and "Las Historias Que Tengo" a 12-minute showcase for Molinari's guitar playing. "Vestidos De Agua" closes the album with a delicate prog-folk note, a direction I would have liked to see them take more often. Flautist Jorge Cutello adds a romantic fairytale air to the song. "Color Humano 3" was destined to be the band's last studio album. Molinari would immigrate to the U.S. while the other two loaned their talents to other Argentinian rock groups (Polifemo, Sui Generis etc). A reunion in 1995 spawned a live album which I've yet to hear. I'm sure this CD will appeal more to Spanish speakers, but even for the rest of us it deserves to be heard. Sure it's nothing groundbreaking but neither is it in any way inferior to acclaimed US or European records from that era.

**** for Pascual Tal Cual, Un Blues Para Adelina, Mañana Por La Noche, A Traves De Los Inviernos, Hace Casi 2000 Años, Vestidos De Agua

*** for Sangre Del Sol, La Tierra Del Gitano, Humanoides, Va A Salir Un Lugar, Hombre De Las Cumbres, Cosas Rústicas, Las Historias Que Tengo

The Allman Brothers Band "Brothers And Sisters" 1973*****

I was just reading an interview of the recently departed Gregg Allman to MOJO magazine. Of all the twists and turns of his life (the murder of his father when he was only 2 years old, professional strife and success, struggle with alcoholism, numerous marriages - one of which with Cher) the defining one which he kept coming back to was the death of his brother Duane at a motorcycle accident, aged only 24, and just as the band he had founded was taking off. Gregg soldiered on with the band for nigh on 40 years, keeping the fire of Southern Rock burning - and not in any nationalist way. You see, contrary to other bands, The Allman Brothers didn't need to fly the confederate flag. In Duane's words "We're just plain old Southern cats, man. Not proud or ashamed about it, that's just who we are". They didn't bother with any civil war references, didn't think twice about hiring a black drummer despite knowing that'd make them unwelcome in some places. Their mix of deep southern blues and soul, country, hard rock and jazzy improvisations was all they needed to be instantly adored by Southern audiences and rock/blues fans everywhere. By 1972-3 they were selling out stadiums while their "Eat A Peach" LP, mostly recorded with Duane still in the band but released after his death, had hit no.4 in the charts. The question then was "Can they possibly match the brilliance of their previous albums without Duane? Can there even be an Allman Brothers Band without him?" To make matters worse, halfway through the recording of their new album, tragedy struck again: bassist Berry Oakley died in an accident eerily similar to that of Duane: while riding his motorcycle, on the very same stretch of road. Despite these losses weighing heavily on the band, "Brothers And Sisters" turned out to be a triumph from start to finish. Singer/keyboardist Gregg and (previously second) guitarist Dickey Betts seriously upped their game, delivering their best writing, playing and singing to that point - arguably the best of their career, ever. Betts actually stepped upfront writing most of the songs and singing lead on the album's big hit "Ramblin' Man", an ode to freedom and living on the road. Guest player Les Dudek added more lead guitar, the twin guitar attack on this track reminiscent of the days with both Duane and Betts in the band. Dudek also co-wrote (with Betts) and played acoustic on the wonderful instrumental "Jessica" but he wasn't destined to become a full time member. New members added during these sessions included Oakley's replacement Lamar Williams on bass and pianist Chuck Leavell, nowadays an informal Rolling Stone. The latter added a jazzy New Orleans flavour to the mix, his duel against Bett's electric guitar on the uplifting "Southbound" being one of the album's highlights. "Pony Boy Blues" is the last of the Betts compositions here, a country-ish ballad with superb slide guitar. Gregg Allman's songs include rocker "Wasted Words" and two pure blues songs "Jelly Jelly" and "Come And Go Blues" to counterbalance Betts' country leanings. Both the album and lead single "Ramblin Man" were very successfull, securing the band a lot of airplay and (especially) huge concert audiences. Probably Southern Rock's single best moment.

***** for Ramblin Man, Southbound, Jessica

**** for Wasted Words, Come And Go Blues, Jelly Jelly, Pony Boy Blues

Fallen Angels "Fallen Angels" 1978(orig) 1995(reissue)***

So let me jump the gun and say right away that this band deserved better than the complete anonymity surrounding it. One of many (mostly unknown) bands to sport the name Fallen Angels, it was founded by guitarist Mickey Finn after he left Steve Marriot's All Stars - not Marriot's former band Humble Pie as stated on the cover, who the hell writes this stuff? Further confusion ensues because other ignoramus (e.g Allmusic.com) mix guitarist Mickey Finn with the same-named drummer, wrongly crediting the former T-Rex member with playing on the All Stars' "Marriott". So Mickey Waller (AKA Finn) is erroneously credited with being in Humble Pie, while deprived of credit for the album he really did play in. His legacy isn't well served, to say the least. To make matters worse, when the Fallen Angels' sole LP did get a limited (originally only in Holland) release it was as Phil May (big letters) and The Fallen Angels (smaller ones), presumeably because singer May's name was slightly familiar, him being an ex-Pretty Thing and all. This CD reissue is actually the only version of this album presented as a collaborative effort instead of a -more or less solo- Phil May record. Of course many members came and went, while Finn himself isn't present on "Shine On Baby" and "California". In total, 11 musicians can be heard in these recordings while a lot more passed from the band without recording anything. The music isn't anything revolutionary, just typical 70's classic rock. But neither is it in any way inferior to contemporary albums by famous groups of the era. The band seem to have American FM radio in mind, adopting a commercial rock sound a la Eagles, at least for the first couple of songs "Fallen Angels" and "California". "13 1/2 Floor Suicide" is closer to "Finn's former band" Humble Pie with its hard rock riff and bluesy piano. "Shine On Baby" has a very funky -almost disco- beat and vocal, jazzy sax and rocking guitar. "Dance Again" is a nice ballad, while "My Good Friend" (another ballad) and rocker "Cold Wind" are saturated with violin. I love them both as I'm a sucker for rock songs with violin - for example Pavlov's Dog, Dylan's Desire LP, and Edgar Broughton's "Evening over Rooftops". "I Keep On" has an almost Aerosmith feel, while "Dogs Of War" and "Girl Like You" remind me of Mott The Hoople's laddish glam rock. This CD reissue appends 3 previously unreleased tracks recorded -without Phil May- in 1978: "When The Russians Came Back" is an interesting guitar instrumental, "Chance" an indifferent rocker and "Lazy Days" an equally blunt laid-back instumental. All in all a good album, but I can't help but feel it doesn't belong on CD. Had I discovered it by chance at a vinyl sale, it would have immediately fallen into my "Buried Treasure" category, now it's just an agreeable classic rock CD in a collection full of those.

**** for Fallen Angels, California, 13 1/2 Floor Suicide, Cold Wind

*** for Dance Again, Shine On Baby, My Good Friend, I Keep On, Dogs Of War, Girl Like You,When The Russians Came Back 

** for Chance, Lazy Days

Jerry Williams "Sweet Little Rock'n'Roller" 1974**

Hi again. I'm still on holiday in Antiparos, and posting from my drafts folder. Just relaxing, taking in the sun, swimming and tasting the local delicacies. If you find yourself in Greece remember that every region has its own dishes based on local products. Don't play it safe and go for pizza or burgers, and don't waste your time with gyros and moussaka which you can get at any Greek restaurant in your city. Order instead one of the local specialties, like this beauty from the Paros region: "Gouna" is a way of cooking rather than a specific fish, though mostly they'll use mackerel. The fish is sliced in half and hang to dry for a few days on the summer sun and sea breeze, then grilled and lightly sprinkled with an oil and lemon sauce. An ancient recipe meant to preserve fish for a longer period (as opposed to salting or smoking it), you won't believe how good it tastes. Try it with ice-cold ouzo or raki to watch all your worries evaporating into thin air. 
This is another album I only bought because it was cheap and had an inadvertently funny cover. I just thought the guy on it wasa hilariously clueless pseudo rocker. Everything from the red leather jacket (over a see-through shirt) to the gleaming razor blade in his hand and his even more shiny motorcycle tries to emulate "dangerous teddyboy gangbanger" and does so less convincingly than if he had dressed for a 50's themed costume party. And why exactly is the chick next to him dressed like a showgirl in an Al Capone movie? Anyway, I purchased this LP hoping it'd either be some wild rockabilly or incompetent enough to laugh at. Unfortunately neither case is true - it's just an unremarkable retro pop album. It's telling that the title song isn't a cover of the same-named Chuck Berry tune but of a contemporary Joe Dolan pop hit. Catchy maybe, but not rock'n'roll. Country oriented "Sittin' And Thinkin'" and "Lazy Mornin'" sound more heart-felt but the retro ballads "Love Me" and "Three Steps To Heaven" are just perfunctory. Still they're not as bad as the album's low point, disco-like "Tower Of Strength".

On the Southern soul-influenced "Prisen" the singer tries to sound like Elvis covering Tony Joe White but he just manages to sound like a Johnny Hallyday imitator. After some more Elvis pastiche (the tame rockabilly of "Lonely Weekends" and "It's Worth Believin'") the record closes with the only song worth hearing twice, a rootsy soul rock cover of The Righteous Brothers's "Little Latin Lupe Lu". The album has never been re-released either on LP or CD, so it has some period value, but it's otherwise of little interest. Given how mediocre it is, I was surprised to learn Jerry Williams is considered a bona fide rock legend in his native Sweden. I hope this was just a misstep in his discography, otherwise that's kind of sad for Swedish rock.

*** for Sittin' And Thinkin', Lonely Weekends, Lazy Mornin', Little Latin Lupe Lu

** for Sweet Little Rock'n Roller, Love Me, It's Worth Believin', Three Steps To Heaven, Prisen (colinensinainciusol)