Brigitte Fontaine "Est... Folle" 1968(orig.) 2025(reissue)*****

I had previously heard of Brigitte Fontaine, but was under the impression that she was just another French Chanson singer, like Dalida maybe, or Francoise Hardy. Then I read an article about this reissue which mentioned her as an avant-garde artist, someone in synch with the contemporary psychedelic scene. Apparently, her fans include Bjork as well as and members of Pulp, Stereolab, and Sonic Youth. Now these are some big endorsemenets, so I decided to check the album on Spotify, and was immediately hooked: the music is not as experimental as I expected (apparently, her subsequent work would be), sounding more lke a mix of chanson and acid folk. The orchestration (by Jean Claude Vannier, a Serge Gainsboug collaborator) is gorgeous but nuanced; not just beautiful, but also sometimes morose, others playful, even ironic. It reminded me of another favorite of mine from the same period, Tom Rapp's Pearls Before Swine - the similarities extending beyond the music also to the Hieronimus Bosch homage of the album cover - PBS used part of The Garden Of Earthly Delights triptych for their One Nation Underground LP cover, and a number of details from the same painting are incorporated here. At the time of this album's release, Fontaine was almost 30 years old, already accomplished as an actress and playwright; although it was the height of the yé-yé girls phenomenon, she refused to play along; there may be some similarities to Hardy at her more melancholic ("Il Pleut", "Une Fois Mais Pas Deux"), but more often she reminds me of Jacques Brel, especially on the more theatrical/cabaret-like numbers (e.g."Comme Rimbaud", "Je Suis Inadaptée"). Despite the relatively jaunty music, the lyrics are ironic and confrontational e.g. the former goes "I'm dirty, like Rimbaud/ Syphilitic, like Beaudelaire/ But maybe you don't like poetry, after all". She continues by trashing the luminaries of other art forms, and ends up with "I'm not a man, like Joan of Arc/But maybe you don't like women, after all". The latter song, meanwhile, confesses "But I can't help it/ I have to see the bad in everything/ I'm out of it, maladjusted." So yes, these are not your typical 60s yé-yé themes. It's way more interesting, provocative, and poetic. Thankfully, the bilingual insert contains the lyrics, both original and in the English translation. "Le Beau Cancer" and "L' Homme Objet" offer more sprightly Gallic jazz - if you liked the Amélie soundtrack, they will be right up your alley. "Il Se Passe Des Choses" and, especially, the melancholic "Dommage Que Tu Sois Mort" remind me of Nico circa Chelsea Girls - a likewise avant-garde female artist whose solo debut was also a compromise between their own experimental tendencies and a producer's idea of a romatic chanteuse. Not that that's a bad thing, mind you; in both cases the tasteful arrangements are among the best features of the respective LPs. "Il Se Passe Des Choses" is even darker, with a dramatic Marlen Detrich-esque vocal, and "Blanche Neige" is an experimental ballad, full of playful sonic touches and exotic sound effects. Somehow I was reminded of Siouxsie's side project, The Creatures. Which brings us to another experimental piece, "Eternelle". Probably my favorite track here, it's a rhythmic piece with quirky backing vocals. The album closes with "Cet Enfant Que Je T’Avais Fait" a duet with Jacques Higelin, a fine piece of orchestral pop; the similarites with Vannier's famous arrangments for Histoire de Melody Nelson are obvious. One of the perks of this latest reissue (apart from the crisp remastered sound, gatefold cover and glossy insert) is that it allows you to experience Vannier's orchestral work on its own, as the bonus LP contains instrumental versions of 7 of the tracks. We also get 8 demos, giving the songs a starker feel; they sound folkier, but definitively still weird. Lastly, we get a live version of "Il Pleut" from 1969. It's radically different; at 6 minutes it's more than twice as long as the studio version, bluesier and more improvisational, with a passionate vocal performance including a lot of wordless vocalizing. Her next album, which many consider to be her best, was a more experimental collaboration with the Art Ensemble of Chicago. She'd go on to produce other uncompromising records that sailed among pop, folk, electro and world music, which I aim to slowly get into. Brigitte Fontaine Est...Folle is, in any case, a great introduction; a highly idiosynchratic mesmerizing fusion of French chanson, orchestral pop and Velvet Underground-like 60s avante -garde. Best new album I've heard in months.

***** for Il Pleut, Le Bleu Cancer, Il Se Passe Des Choses, Une Fois Mais Pas Deux, Eternelle

**** for L' Homme Objet, Blanche Neige, Comme Rimbaud, Dommage Que Tu Sois Mort, Je Suis Inadaptée, Cet Enfant Que Je T'avais Fait

**** for all of Disc 2 (demos, orchestral, and live versions)

The Who with Orchestra "Live At Wembley" 2022 (rec.2019)***

The first time I saw The Who live was in Amsterdam during their Quadrophenia and More Tour (2013). It was a rewarding experience; Pete Townshend and Roger Daltrey were in good form despite their age,  and the rest of the band supporting them ably - especially Pino Palladino on bass and "Ringo's son" Zak Starkey on bass. The visuals were also excellent, but I remember thinking that it took a very proficient and well-rehearsed 10-piece band to produce a result that only came somewhat close to the original 4 members. Later, a DVD, recorded at Wembley Stadium during that tour, came out as Quadrophenia Live in London. I didn't buy it, despite the fact that it could have served as a nice souvenir of the concert. I figured that any time I want to listen to Quadrophenia start to finish, I can play the studio version. And if I want to listen to The Who live, I have the expanded Live At Leeds and The Kids Are Alright. Why, then, did I buy Live At The Wembley recorded at the same location as Quadrophenia Live, and even reprising half of that album, only 6 years later? Well, of course it's the orchestra thing. How much does it add to the original songs? First thing first: Metallica S&M, this isn't. Where, on that album, rock band and orchestra combined to produce intensely heavy music in an epic scale, here the orchestra just plays a supportive role, not unlike the expanded 10-piece band I remember from the Quadrophenia concert in Amsterdam. Townshend and Daltrey are in similarly good form - better than what can be reasonably be expected, given their age. When they are not accompanied by the orchestra, as in "Substitute" and "The Seeker", they sound like an older, slightly blunted, version of themselves. The acoustic version of "Won't Get Fooled Again" is different enough to previous ones to be of interest, but frankly rather weak. It was interesting to hear the orchestra replace the synths on tracks like "Baba O’Riley" and "Eminence Front" resulting in a more organic sound. Often it adds some welcome bombast, as in the fanfares of "Pinball Wizard" or melodrama, as in "Behind Blue Eyes" and "Love Reign O'er Me". Lesser known tracks like "Imagine A Man" (1975) and "Hero Ground Zero" (2019) gain from new orchestrations; new blues track "Ball And Chain" (2019) isn't up to the same level as the classics, but it's good to have a live version of it. An acoustic rendition of "Tea and Theater" from 2006's Endless Wire (recorded during a different concert, too) makes for a puzzling inclusion, and rather anti-climactic closer. This set was also released on triple vinyl, but my own version is the 2CD and Blu-Ray set. The Blu Ray offers Stereo, DTS 5.1, and Dolby Atmos audio, but no video! All you get on your screen are some photos! That was an unwelcome surprise, for sure! Since it's not made specifically clear on the package that this is an audio-only BluRay, I -and almost everybody else who purchased it- naturally assumed we were getting a video recording of the concert with surround sound. I mean, it's not some ancient archive recording. It's a huge production at Wembley stadium in 2019! Many buyers felt cheated. After all, to be honest the PCM 5.1 sound (I can't judge the Dolby Atmos sound channel, since I don't have the appropriate equipment to listen to it on) isn't all that revelatory - slightly bigger and more vivid, especially in the orchestral parts, but I'm guessing that, had they known that there was no visual content in the BluRay, many buyers would have gone for the vinyl version instead. The official response to complaints was that "the Wembley concert wasn’t filmed for DVD or Blu-ray. The only filming was choosing  for the live back screens at the show." So the cameras were transmitting while a director chose which camera feed to project on the back screen. Although the primary material wasn't recorded, apparently we still have the visuals as they were projected on the back screen. Well, some of those visuals are available for free on youtube; they look quite good and complement the sound on those youtube videos perfectly! It's a pity they didn't also make them available to paying customers, to watch on their TV while listening to that nice crisp digital sound on BluRay, instead of watching a stupid slideshow. Anyway, purely music-wise, this is The Who (or, more correctly, Roger Daltrey and Pete Townshend) in respectably good form, playing some of their most famous and beloved songs. True, these "live with orchestra" versions can't compare to the studio ones, or with live recordings by the original band in their prime. It would be unreasonable from us to expect that. But they are just different enough for fans to want to listen to. If you are fans, if you already own their classic studio albums and some essential live Who from their 60's and 70's, and you are still not satiated, you may want to get this one, too. It certainly makes for a fun listen, and the orchestra adds a welcome new dimension. Too bad for the missed opportunity; some nice visual content might have elevated this to a 4* set. 

**** for Eminence Front, Imagine A Man, Pinball Wizard, Hero Ground Zero, Behind Blue Eyes, 5:15, Love Reign O'er Me,  Baba O’Riley

*** for Who Are You, Join Together, Substitute, The Seeker, Won't Get Fooled Again (Acoustic), Ball And Chain, The Real Me, I’m One, Tea & Theatre (Acoustic)

** for The Punk And The Godfather, Drowned, The Rock

Judy Collins "Wildflowers" 1967****

Like most folk singers, Judy Collins started her career as an interpreter of traditional ballads. Pretty soon, though, she differentiated by choosing material by contemporary singer songwriters - starting with a young Bob Dylan in '63, and discovering a not-so-young songwriter called Leonard Cohen in 1966. At the time, the 30-something (practically middle aged, by 60's pop standards) Canadian was somewhat frustrated by his lack of success as a writer, and had just started trying to put his poems to music. He was nevertheless not confident and had never performed publicly before Collins took him under her wing, asking him to appear as a guest at a fundraiser she did, and then at a TV show she starred in. In '66, she included two of his songs in her 6th (and first gold-certified) LP, In My Life. With Cohen's fame as songwriter still not taking off, she decided to include three more of his songs in this follow-up, Wildflowers: here, modern classics "Sisters of Mercy" and "Hey, That's No Way to Say Goodbye" first saw the light of day, months before Cohen included them in his own debut LP. A third composition called "Priests" was never recorded by him. Always on the lookout for fresh talent, Collins decided to promote another unknown Canadian songwriter; this time a young lady called Joni Mitchell. She chose "Michael from Mountains" and "Both Sides Now" - later to appear in Mitchell's debut and her 2nd LP, respectively. Next to the ballads from the two unknown Canadians, she also included two foreign language songs: "La chanson des vieux amants" by French-Belgian Jacques Brel, and "Lasso! di donna" by medieval Florentine composer Francesco Landini. Lastly, she makes the transition from interpreter to songwriter, by including for the fist time three of her own compositions. These are soothing, meditative, pieces in sync with the rest of the album. "Albatross" in particular is quite impressive, from the poetic lyrics to the neo-classical arrangements by Joshua Rifkin, then a talented young Julliard graduate, and later a renowned Bach scholar. To me, the orchestral arrangements in this album are as big a part of its charm as Collins's crystal voice is. Rich, but also light and thoughtful, never bombastic or overtly sentimental as is often the case in pop music. The result is a baroque-pop-folk sound presaging what Renaissance and other prog bands did in the 70's. Of course, the album also includes a bona fide baroque ballad in the excellent "A Ballata of Francesco Landini - Lasso! di donna". Mitchell's "Both Sides Now" is the relatively most upbeat track; it was also released as a single, providing Collins with her first Top 10 as well as her first Grammy award. On the whole, listening to Wildflowers is a soothing experience, albeit not in a muzak way but in a deeper, more meditative, and ultimately satisfying, manner. To me, it is an album to get on CD - the pops and clicks of vinyl can get quite annoying when listening to atmospheric music on your stereo. I actually got this very cheaply, as part of the Original Album Series - a series that collects 5 albums in a small cardboard box - each CD is housed in a simple cardboard sleeve replicating the original vinyl album cover. Prices vary, but usually less than €20. It's a great way to familiarize yourself with the discography of an artist: instead of a single compilation, which is how I usually approach artists I want to get acquainted with, you get 5 original albums for the same price. Later, if one loves what they hear, they can always get it on vinyl.

***** for Sisters of Mercy, Albatross

**** for Since You Asked, A Ballata of Francesco Landini - Lasso! di donna, Both Sides Now, La chanson des vieux amants (The Song of Old Lovers), Hey That's No Way to Say Goodbye

*** for Michael from Mountains, Priests, Sky Fell

Isobel Campbell and Mark Lanegan "Sunday at Devil Dirt" 2008****

My random selection method came out with this CD exactly 5 years ago, but I left the review unfinished until now. The shocking news of Lanegan's death at 57 had me listening to his records a lot lately, and thinking about presenting one for this blog. Normally my first choice would be one of his solo albums, which represent him better, or something by the Screaming Trees, who used to be one of my favorite (neo-psychedelic? proto-grunge?) bands of the late 80's/early 90's. But this is just as good a choice as any, because it brings back good memories: seeing Mark and Isobel at the Take Roots festival, in Groningen 2010. What a couple... some called them "the beauty and the beast", which seemed obvious given the contrasts: Isobel's a fresh-faced frail-looking blonde with a sweet and innocent voice, Mark's got a heavier physique, with a gruff and tortured exterior and a deep smoky baritone voice to match. But that totally belies the couple's creative relationship: in a reversal of the stereotype, the lady is the behind-the-scenes genius, while the "brute" is the muse and protagonist of the show.

As a member of Scottish indie heroes Belle and Sebastian, Isobel Campbell was identified with a certain kind of smart but twee chamber pop. But this time she went for something completely different, delving deep into Americana tradition, and especially the great country duets by Johnny and June Carter Cash or Lee Hazlewood & Nancy Sinatra. She is the principal songwriter, arranger, co-vocalist, and multi-instrumentalist here, yet none of it would have worked without Lanegan: his whiskey-and-smoke-stained voice lends the songs earthy warmth and gravitas. Vocally, Campbell is a supporting character, the sultry ingénue to Lanegan's tortured hero. When she takes the lead on "Shotgun Blues", the result's rather strange, like listening to Marilyn Monroe fronting The Cowboy Junkies. The album opens with "Seafaring Song", a naked ballad with acoustic guitar and, from the middle on, some low-key strings. That's followed by "The Raven", a dark piece with a raspy ML solo vocal and an orchestral backing reminiscent of spaghetti western. The juxtaposition of the two diametrically opposed voices is used to great effect on the two orchestral pop duets "Who Built the Road" and "Come on Over (Turn Me On)", and the jazzy "The Flame That Burns". With the exception of swampy voodoo blues "Back Burner", the rest of the album is simple acoustic balladry. "Keep Me in Mind, Sweetheart" has some old-fashioned country charm, and so does "Something to Believe" with its whistling solo, but on the whole the remaining material is agreeable but unspectacular. Maybe Campbell sensed that, and that's why she deliberately restricted herself to backing vocals and instrumental accompaniment for most of the album: it takes a special kind of voice to elevate these songs above mediocrity; someone like Lanegan, or Johnny Cash. These were men that could sing the phonebook and make it sound heart-wrenching and full of meaning. I fear we will never see the likes of them again.

**** The Raven, Salvation, Who Built the Road, Come on Over (Turn Me On), The Flame That Burns

*** for Seafaring Song, Back Burner, Shotgun Blues, Keep Me in Mind, Sweetheart, Something to Believe, Trouble

** for Sally Don't You Cry

Lambchop "Nixon" 2000****

Each time I see an album given glowing reviews by the press, I can't help but wonder whether it will prove to be a future classic or get forgotten after a decade or two. Lambchop's Nixon got great reviews when it was released, and was even awarded the Album Of The Year 2000 title by Uncut Magazine, prompting me to buy it at the time. I've since sometimes used it as background music, but given it little attention otherwise. So when my random album selection method picked it for review in this blog, I was curious to see whether, 20 years after its release, I'd recognize it as a classic album. Seeing that Lambchop come from Nashville Tennessee, one expects to hear some country influences in their music. It's in there somewhere, but don't expect the familiar country twang: the band's sound initially was understated indie folk, augmented with judicious string and brass arrangements that made them sound like a cross between The Cowboy Junkies and Tindersticks. Singer/songwriter Kurt Wagner remains the focal point for Lambchop, which by this time had grown into a 13-member band, not counting session musicians. Despite that fact, the music is always breezy, never busy. Wagner himself employs two different singing styles: One is a sing-talking voice that reminds me of Leonard Cohen, packing similar warmth but without Cohen's gravitas. The other is a surprising falsetto that he seems to have copied from Prince, and probably uses here a bit too liberally - most notably in tracks "You Masculine You" and "What Else Could It Be?" - both fine songs, despite the unconvincing, pseudo-black, falsetto. "Grumpus" is another mid-tempo funky piece. The arrangements here are reminiscent of the smooth soul of Barry White and Isaac Hayes (I'm talking Hayes, as in his version of "Walk On By", not "Shaft"), but apparently since he can't emulate their rich baritone, he tries for Prince's high register. The result isn't sensual as in the case of the aforementioned black artists, but it is quite warm and pleasant, at least to my ears. The tempo is generally pretty slow, with two exceptions: lead single "Up with People" is rather upbeat, with the handclaps and choir giving it a gospel colour. Closer "The Butcher Boy" is also fast, with relatively louder drums and a more abrasive, experimental guitar sound. Penultimate track "The Petrified Florist" may differ in its lethargic pace and sparse arrangements, but also makes for a relatively "difficult" listening. Their placement at the end of the disc is probably meant to undermine the comfortable feeling created by the previous smooth easy listening sounds, and to remind you you're still listening to an "underground" artist - in case you weren't listening to the lyrics, which is a twisted, David Lynch-like, take on American suburban life. In interviews, Wagner trolled reporters about Nixon being a concept album about the same-named former U.S. president, but apparently the title was inspired by the album cover, not the other way round. So, is Nixon a classic album after all? I'd say yes - not just because of its quality, but also of the sense that something new is happeing here, that this mix of country, chamber pop, alt-rock, and soul is a bold and successful experiment. Its follow-up Is A Woman is another great step in the same direction - with the funk overtones slightly turned down. Only downside: the lack of any great standalone songs, with the exception of "Up With People". But as a whole... the atmosphere, the arrangements, the musicians' playing, everything about it is top notch!

***** for Grumpus, Up with People

**** for The Old Gold Shoe, Nashville Parent, What Else Could It Be?, The Book I Haven't Read, 

*** for You Masculine You, The Distance from Her to There, The Petrified Florist, The Butcher Boy

The Kinks ‎– "Lola, Percy & The Apeman Come Face To Face With The Village Green Preservation Society... Something Else" 1966-1971(rec) 1974(comp)***

As I previously explained, Golden Hour was a budget record label releasing cheap 60-minute compilations in the 70's, by bands that were either relatively unknown or -like The Kinks, at the time- outdated. They released three such compilations by The Kinks, totaling an impressive 99 tracks. Golden Hour Vol.1 contained the hits, Vol.2 the early stuff, while this double LP gathered most of the rest. The artwork and title are an awkward way to inform buyers that this comp contains a wide selection of tracks from the following albums: Face To Face (1966), Something Else By The Kinks (1967), The Kinks Are The Village Green Preservation Society (1968), Lola Versus Powerman And The Moneygoround (1970), Percy (1971) and the Apeman 1970 single. Basically you get something like 80% of the aforementioned LP's - minus, of course, the hits which are mostly included on Golden Hour Vol.1. If one already owned Vol.1, they could purchase this cheap supplement and get most of The Kinks' discography between 1966-1971, which consists of a wonderful and idiosyncratic body of work to rival any other in classic rock. Despite the absence of some hits, there's still an embarrassment of riches ranging from 1966's plain rocker "Party Line" to the classic gender-confusion story "Lola", Dave Davis' hit single "Death Of A Clown", and the lament for old England that was "The Village Green Preservation Society". And then there's Ray Davis' acute observational humor on songs like "Dandy" and "People Take Pictures Of Each Other" ("...just to prove that they really existed"). Just replace "pictures of each other" with "selfies" and you've described one of the biggest plights of our decade. At 44 tacks, it's impossible to give a detailed analysis, I'll go into the specific songs when I present the individual albums - suffice it to say that there are some real gems, and even what was considered filler at the time (which you also get here) shows at least some marks of Ray Davis' songwriting genius. So there's absolutely no faulting the contents of this collection, but there are many other reasons why I wouldn't recommend its purchase: Firstly, by removing even a few of their hits from that period, the compilation isn't representative of that phase in The Kinks' evolution. Secondly, by that time The Kinks' LPs were not mere collections of songs but concept albums each revolving around a specific idea. While some of the songs from Village Green, Lola and Percy were successful as stand-alone singles, others just don't work as well when taken out of context as it happens here. Thirdly, there are too many songs on each side; in terms of duration, it feels like you're listening to a CD. You may ask whether it is any better to have to get up every 15 minutes to change side? The answer is that there's nothing wrong with long LP's, except that your attention may start slipping away after 20-25 minutes. Some will tell you that 30 minutes of music per side is too much for a vinyl LP and that sound quality suffers greatly as a result, but I wouldn't go that far. Sure, listening to this LP is not an audiophile experience but I've heard much worse. If you're used to streaming, MP3, or just the average CD sound quality, you won't be bothered by it. Lastly -and that may seem superficial, but it can also be a dealbreaker- the packaging is ugly, and the title is just ridiculous. On the other hand...collect all 3 Golden Hour Kinks compilations, and you've got yourselves more or less their entire 60's output on vinyl for an unbeatable price. Tempting, isn't it?

***** for Lola, The Village Green Preservation Society, Love Me Till The Sun Shines, Dandy, Death Of A Clown, David Watts, People Take Pictures Of Each Other, Village Green, Apeman, Harry Rag

**** for Wonder Boy, Rainy Day In June, Party Line, Rosy Won't You Please Come Home, Wicked Annabella, Tin Soldier Man, Two Sisters, Funny Face, Moments, Sitting By The Riverside, Johnny Thunder, Picture Book, You're Looking Fine, God's Children, Afternoon Tea, The Last Of The Steam Powered Trains, House In The Country, Situation Vacant, Holiday In Waikiki, Session Man, Most Exclusive Residence For Sale, Lazy Old Sun, End Of The Season, No Return, Starstruck, The Way Love Used To Be, Big Sky

*** for Little Miss Queen Of Darkness, Dreams, Do You Remember Walter, All Of My Friends Were There, Too Much On My Mind, Animals In The Zoo, Phenomenal Cat

Axis "Axis" a.k.a. "Someone" 1972***

I used to pride myself on being well-informed on the Greek rock scene, as well as prog rock in general. But last year, while researching international sites for articles on Greek proggers Purple Overdose whose leader had recently passed away, I came across mentions of a Greek prog band I had never heard of, called Axis. Now who were these guys, and how come I had never heard of them? Apparently they were based in Paris France, and the 3 albums they made between 1971-1973 were never released in Greece. Dimitris Katakouzinos (acoustic guitar, bass, vocals) and Demis Visvikis (keyboards, vocals, weird afro hairdo) had accompanied Greek easy listening superstar Demis Roussos to France as members of his backing band. They were joined there by two other Greek expats, drummer George Chatziathanassiou and guitarist Alecos Caracandas, and together formed the band Axis. Their first 2 albums are almost identical and released with various titles (Axis, Someone, and Ela Ela/Osanna) and covers. Confusing as it may seem, this is apparently a Dutch edition of their second album, which is actually their first (a.k.a. Ela Ela/Osanna) with two or three changes. It's titled Axis, but the songlist is identical to another Dutch issue under the title Someone, released later that year when the track "Someone" became a local hit. This was a melodic pop song with soft lead vocals and harmonies, and some nice harpsichord - all reminiscent of those more famous Greek expatriates, Aphrodite's Child. "Nothing To Say" is a similarly soft pop psych ballad - its only saving grace for me being a short but fantastic fuzz guitar solo. "Days Can Be Better" is another pop tune with a nice jazz-funk twist. "Osanna" is boring hippie/Christian rock - again the fuzz guitar is the only redeeming feature, but it's buried under the "ecstatic" harmonies. If you can listen to the soundtracks of Hair or Jesus Christ Super Star in their entirety, you may find this interesting. "Ela Ela" was their other hit - I can't be objective about this one, as it's just a cover of a Greek traditional tune I've always known and found somewhat silly. It certainly has a catchy chorus, though, and rhythmic percussive drive, so it's no wonder it got a lot of airplay in certain European countries. The album does get better later on: "Dedicated" is an emotive ballad dominated by imposing organ and electric guitar, while "Shine Lady Shine"'s hard rocking organ and guitar has traces of Santana and Uriah Heep. "Living In" is another heavy prog number with vocals and organ that remind me of Procol Harum's "Whiter Shade of Pale". "Long Time Again" is a mellow psychedelic ballad, while the two most challenging tracks are tucked away at the end of the album: "Bad Times Go" is a hard rocker with wild drumming, guitars and heavy organ, while closer "Bad Trip" starts off with 1'30'' of soft psychedelia to explode into an experimental prog tune reminiscent of EL&P. Apparently it is inspired by a classical piece by Rachmaninoff. This heavy prog style suits the band very well, allowing them to stretch out instrumentally. Alas, it is their commercial "flower power" songs that they are still (if at all) remembered for, and those now sound hopelessly outdated. But if you can look past those moments (roughly 1/3rd of the album) you'll discover a bunch of talented musicians who deserve better than their current state of near-oblivion. Axis also made a 3rd LP (also called Axis, and released in 1973) that was more in the Canterbury jazz-prog-rock style and which is highly regarded by progheads. It didn't sell as well as the previous ones and the original is therefore rare, but it has been re-released on both CD and vinyl, and I aim to get a copy for myself. When I do, it'll be presented here, too.

**** for Dedicated, Shine Lady Shine, Long Time Ago, Bad Trip

*** for Someone, Nothing to Say, Days Can Be Better, Living In, Bad Times Gone

** for Osanna (Canta di Osanna), Ela ela

Pussy "Pussy Plays" 1969(rec)**** plus Fortes Mentum "Humdiggle We Love You"1968(rec)***2009(comp)

Sometime during the late 80's or early 90's I got hold of a bootleg version of Pussy's sole LP Pussy Plays, a rare heavy psych album from the late 60's which became something of a favorite of mine. Many years later I came across an official double CD reissue including a second album by Fortes Mentum (FM); the double-sided booklet allowed the listener to put either cover on the front. FM were a studio group formed by Morgan Studio's songwriter/arranger Danny Beckerman. Initially he wasn't going to be part of the band, but apparently he got along with them so well that he joined them on piano. The others were guitarist Barry Clark, vocalist Frank Bennett, bassist Ron Regan, drummer Keith Giles, and organist Alan Ward. Disc One of this compilation contains a remastered version of the Pussy Plays album plus two demos of "Come Back June" and "We Built the Sun", attributed to Fortes Mentum but actually only featuring Beckerman and Clark, the two FM members that continued as Pussy. You can read my review of Pussy Plays on another post, so I'll start right away with Disc 2 which contains what appears to be the entire recorded output of FM: the A- and B- sides of their 3 singles, plus alternate takes and outtakes. These are not demos but complete, perfectly produced, songs. FM were a much more lightweight band compared to Pussy, the only common points being some semi-classical elements and the elaborate production. Their music is a sort of baroque pop psychedelia with quirky lyrics. Inspired partly by Victorian aesthetics and the English music hall tradition, and partly by The Beatles who had scattered similar songs among their albums of the era, some bands embraced that sound wholesale. I think Jeff Lynn's Idle Race is the most typical of the bunch, but there were others e.g. Kippington Lodge, Move, Bonzo Dog Band, early Tyrannosaurus Rex etc. FM's debut single was probably their best: A-side "Saga of a Wrinkled Man" is reminiscent of Simon Dupree's hit "Kites" while B-side "Mr. Partridge Passed Away Today" features nice harmonies, piano and the ever-present here strings. The drumming on the album is also notably good. "I Can't Go On Loving You", "I Love Loving You" and "Baby You Gotta Stay" provide pop soul similar to early Bee Gees, while some of the best moments come from their richly orchestrated ballads: "Gotta Go", "The Man Who Understands", and "I Could Have Loved Her" will remind you of The Moody Blues. The upbeat tracks, though, sound positively overproduced. "Marrakesh" has a charming exotic flavor, and "I Maybe Napoleon (Napoleon)" and "Green Mello Hill" are listenable psych pop, but the likes of "Harry The Keeper" and "Humdiggle We Love You" are too whimsical bordering on silly. All in all, Disc 2 contains 18 songs, some in multiple versions. By keeping one version of each song, one arrives at what would have had the typical duration for an LP of the era, justifying the disc's subtitle "the album that never was". If it was released at the time, it may have been talked about as a companion LP to Idle Races' Birthday Party or Keith West's Excerpts From A Teenage Opera. If that's your kind of thing, it's worth searching for this particular compilation. I personally don't think I'll be playing Disc 2 again, unlike Pussy Plays which returns to my turntable almost every year.

Pussy Come Back June*****, All of My Life*****, We Built the Sun****, Comets***, Tragedy in F Minor****, The Open Ground****, Everybody's Song****, G.E.A.B.****

Fortes Mentum Come Back June****, We Built the Sun****, Saga of a Wrinkled Man****, Mr. Partridge Passed Away Today****, I Can't Go on Loving You***, Humdiggle We Love You***, Gotta Go****, Marrakesh***, Green Mello Hill***, Baby You Gotta Stay***, I Love Loving You**, The Man That Understands**, I Maybe Napoleon (Napolean)***, I Could Have Loved Her**, Harry the Keeper**

Michael Kiwanuka "Kiwanuka" 2019****

My initial impression of Michael Kiwanuka was that he's a wonderfully retro folk soul artist in the vein of Terry Callier. That was certainly good enough for me as I'm not a fan of modern R&B or electronica, but with the help of producers Danger Mouse and Inflo, he evolved into a ubiquitous ultra-modern hipster retro soul pop star - I swear it seems as if every Netflix producer is under contractual obligation to use one of his songs as background to his most heartrending scene - in short he's as massive as one can get without losing his coolness credentials. By rights I should be crying sellout but damn it he's too good for that. I mean, there's already been a Terry Callier, a Marvin Gaye etc. Good as their were, we don't need another. Thankfully the modernizing touches do not distract from the core of the music, which is Kiwanuka's songwriting and, especially, his emotive singing. Danger Mouse's production reminds me of his collaboration with Daniele Luppi Rome: subtle electronic beats and samples, sweeping strings and atmospheric backing vocals with touches of Morricone and Burt Bacharach. Opener "You Ain't the Problem" starts off with some nice African style percussion and upbeat rhythm to go with the affirmatory message of the lyrics. Africa is present in the album, from subtle music influences to the "Black Power" messages in lyrics to the album cover presenting Kinawuka as some kind of African prince. Not forgetting of course the singer's Ugandan heritage with which he seems to be very much in touch with. "Rolling" is a modern R&B/electronica piece reminiscent of Danger Mouse's Gnarls Barkley project. It's one of the few songs where the producer seems to get the upper hand. "I've Been Dazed" is a beautiful slow tune. The gospel choir gives me a sense of deja vu with Moby's use of blues samples on the megaselling Play CD some 20 years ago. But I'm not supposed to say that, since Moby made the mistake of becoming too massive to be cool as well as of being white. Apparently a white artist using century-old blues is "misappropriating" it, while black artists' skin color gives them legitimate ownership over this music. The intro to "Piano Joint" features some Barry White-ish vocals that don't do it for me, but the main song is an excellent piano-and-strings-led ballad. "Another Human Being" is a piano and spoken word bridge to "Living in Denial" combining warm vocals with a big cinematic Bacharach-style production. "Hero" consists of an acoustic guitar intro and a jazz-funk main song reminiscent of the more orchestrated Gil Scot-Heron songs. The poignant subject matter refers to a young Black Panther member shot dead by police in the 60's, drawing a direct line to recent police shootings and the "Black Lives Matter" movement. "Hard to Say Goodbye" and "Solid Ground" are two more atmospheric the-blues-meet-Portishead tunes, while "Final Days" speeds those trip-hop beats slightly, covering everything with Morriconesque strings and ethereal backing vocals. "Interlude" is another bridge - these short pieces help with the album flow, which is something less and less attention is given to since physical sales gave way to streaming services. The long and cinematic "Light" closes the album with a note of sweet surrender and lightness "Shine your light over me (shine on me)/All of my fears are gone, baby, gone, gone/(And it don't bother me) It don't bother me, don't bother me, now/ If it's not meant to be". All in all one of last year's more interesting albums. It could gain an extra star by shortening the duration to an ideal 42-45 minutes for a single LP. Not that 52 minutes don't easily fit into a single vinyl. I have many old LP's that exceed 50 minutes without any discernible loss in quality. Some (mostly from the early 90's) even run for 60 or more minutes, e.g. Neil Young's Ragged Glory and Unplugged, Pink Floyd's Division Bell, The Cure's Disintegration, etc. These are a bit too quiet, i.e. you need to turn the volume dial way up to listen to them correctly. They've all been recenlty re-released as double albums. For some reason, though, it's not only 60+min. LP's that get re-released as double ones. They do the same with 45-50 minute LP's, which is simply ri-di-cu-lous! Even more so because any quality upgrade would be so small as to go unnoticed by most people, given that they listen to their vinyls on cheap turntables with rudimentary speakers and amplifiers - if they ever listen to them. I'd bet that most people are bored of changing sides every 12 minutes and end up streaming them anyway. Plus these LP's were carefully structured with a certain running order, each side a 20-25-minute trip intended to be listened to in one sitting. Splitting them into more vinyls destroys the balance between the sides and messes with the way you are supposed to listen to the album. Sound quality my ass! It's all a scheme to sell you a "luxe" product (thick double 180 gram vinyl, perceived "higher" sound quality, gatefold cover etc) for an inflated price. Another explanation I've read in specialist forums is that cutting a long LP without loss of quality requires a level of skill which new cutting engineers simply lack. I tend to believe there's some truth in that, as I've often heard brand new deluxe 180-gram vinyl with inferior sound quality to thinner and cheaper old records.

***** for I've Been Dazed, Hero

**** for You Ain't the Problem, Rolling, Piano Joint (This Kind of Love), Living in Denial, Final Days, Solid Ground

*** for Piano Joint (This Kind of Love) (Intro), Hero (Intro), Hard to Say Goodbye, Interlude (Loving the People), Light

** for Another Human Being

Devendra Banhart "Ma" 2019****

I recently saw Devendra play in Rotterdam's Annabel stage. In some respects he was quite different from the youth I remembered seeing at the AN Club in Athens, 15 years ago: the salt-and-pepper beard, the way he acted as the leader of his band instead of "just one of the guys". In other ways, he was the same: his openness and sweetly awkward demeanor, for example. An air of Peter Pan-ness and unworldliness that I guess only artists can afford. He mostly played songs from his last 3 albums (the ones I didn't own, though I fixed that deficiency on the spot). My girlfriend remarked that he was "more pop" this time while I was thinking "jazzier". I guess we were both right and that the songs, like the man, have evolved while retaining something singular.

Case in point, his latest album "Ma". Its luscious laid-back sound and judicious arrangements are certainly more mainstream than the psychedelic lo-fi folk of his early records. Where the Latin touches once seemed idiosyncratic, now they seem to be integrated in an easy listening approach. "Love Song" for example has that lounge feel, while "Ami"s mellow sax is pure 70's yacht rock. Thankfully the arrangements are always tasteful and clever, never overtly sentimental, while the laid-back guitar sound throughout the album is also quite enjoyable. It opens with him asking in his trembly Donovan/Bolan-esque voice "Is This Nice? Do You Like it?" as if he's really eager to please. Not what you expect from an "indie" artist, but it's true that the quirkiness of the music here never gets in the way of its listenability, making it one of his most accessible albums. "Kantori Ongaku" for example manages to mingle Latin and Japanese influences to produce a pleasantly light and breezy tune. Incredibly the album is at once pretty consistent in mood but also very varied in style: "Memorial" is reminiscent of Leonard Cohen, "Carolina" of Gilberto Gil, and "Abre las Manos" of Manu Chao. The latter expresses his concern and support for the people of his native Venezuela in the difficult times they are facing, always from a human perspective and without politicizing. "Now All Gone" is strange, featuring a slow trip-hop rhythm with a chorus reminiscent of Indian tribal chanting. "Taking a Page" has some trippy Asian parts, and "October 12" is another hushed bossanova ballad. "My Boyfriend's in the Band" is the closest he gets to his late '00's California rock style, while "The Lost Coast" is a hazy atmospheric piece. Closing ballad "Will I See You Tonight?" pairs him with 60's folk chanteuse Vashti Bunyan for a result that reminds me of certain Tindersticks duets from the 90's. Just like the music, the cover artwork (surely by Devendra himself as usual) makes a break with the past, replacing the intricate penwork of his previous albums (which I quite liked) with a striking and somewhat primitive oil painting of flowers. As for the album title, I've read two different explanations: one maintains that the album is a celebration of motherhood and the nurturing spirit, the other one suggests that it comes from the Japanese word "Ma" (間) which translates as "negative space", "pause" or "the space between two structural parts". I'm inclined to go with the latter explanation, seeing as there is a strong Japanese air in the record (among the most obvious: "Kantori Ongaku" is a tribute to Yellow Magic Orchestra leader Haruomi Hosono and features a Japanese chorus). More probably the singer knew of both meanings and chose a term that is open for interpretation. Final thought: seeing as Devendra's manchild voice is a bit too cute anyway, wrapping it in a cloud of warm woodwinds and strings risks sounding too polished, as in missing an edge. Which this album doesn't always avoid, but that's not too important when it contains some of the most charming music I've heard this year. Even if you're a snubby intelectual who likes edgier stuff, you can't deny it makes for delicious ear candy.

**** for Is This Nice?, Kantori Ongaku, Ami, Memorial, Carolina, Love Song, Abre las Manos, My Boyfriend's in the Band, Will I See You Tonight?

*** for Now All Gone, Taking a Page, October 12

** for The Lost Coast

Paul Roland "Masque" (Greek ed. Di Di Music) 1990🎃🎃🎃🎃

Halloween tonight, and there are a number of ways for someone to celebrate it: trick-or-treating obviously, or partying with friends in your Halloween costumes. At the very least one can sit home watching a horror movie: John Carpenter's Halloween maybe, or Friday The 13th. On occasion I've also posted reviews on Halloween-inspired albums like The Fuzztones' Monster A Go Go. If, however, you're less attracted to the camp side of the holiday, if you'd rather re-read Bram Stoker, Mary Shelley or Edgar Allan Poe instead of binge-watching The Walking Dead, Paul Roland might make for a more fitting Halloween musical accompaniment for you.

"Jack O' The Lantern and Will O' The Wisp/ The Devil's Legion rides out in the mist" - now isn't that an appropriate way to start my Halloween album review? These also happen to be the opening verses from Paul Roland's Masque LP. The song, "Dr Syn Is Riding Again", is a hard rock piece with a wild violin solo, and its subject is an 18th century smuggler known as "The Scarecrow". Pretty standard fare for Roland, whom Wikipedia describes as a "singer-songwriter, author, journalist and paranormal researcher". A veritable Renaissance man, one obsessed with the past and with stories of the occult and the macabre. As a musician, he's responsible for more than 30 albums, bringing to life a host of amazing characters: deviant artists, medieval knights, jesters and whores, Victorian murderers and alchemists, vampires, mad scientists, street urchins etc. His music is invariably described as psychedelic, neofolk, goth, progressive, you name it. In truth, although there are similarities to Syd Barrett, Donovan, Robyn Hitchcock, Marc Bolan and others, he's impossible to pigeonhole. His music is just the medium through which he delivers his stories. It's often semi-acoustic with some kind of orchestral backing, but I've also seen him play with a heavy rock band, and I've seen him accompanied only by a lady with a flute (on a beach festival at 2 in the morning, sandwiched between The Last Drive and garage rockers The Droogs). Masque followed on the heels of his hardest-rocking album, the Medieval-themed Duel, and presents us with a mixture of electric and acoustic stylings. There are upbeat rockers with loud drums, e.g. "Dr. Syn", "Mr Scratch" (in the words of Mr Scratch, a.k.a. Mephistopheles: "A fair exchange is no crime/What's a soul my friend for the guarantee of a hell of a time?") and "The Mind Of William Gaines". I always thought the latter (about scientists re-animating an abnormal brain to study its workings) was about a notorious murderer, but it turns out I had him confused with Ed Gein. William Gaines was just an editor of horror comics. It still has a very Halloween-ish, Hammer-horror type, vibe. But while the electric guitars and drums are present throughout the album, they mostly take a back seat to the violin and other strings, with a couple of songs ("Taxidermist", "Mr. Scratch") also featuring sax solos. "Pharaoh" (sung from the perspective of an ancient Egyptian royal mummy) is a slow Gothic tune with an oriental flute melody, while "Candy Says" is a catchy song about a child receding into her inner fantasy world and imaginary friends. "Triumphs Of A Taxidermist" is sung from the perspective of a serial killer who enjoys embalming and collecting victims (my favorite is the "salesman to whom I couldn't say no"). Grisly murder stories accompanied by tranquil violin melodies are after all a Roland specialty. "Grantchester Fields" paints an idyllic picture of the English countryside with, for once, no horrible implications (the "ghosts of summers past" are surely a figure of speech). Side 2 opens with "Masque", a melancholic piano ballad about an actor losing himself in the characters he portrays, while the slow orchestral "Cocoon" is about a scientific experiment gone awry, and "I Dreamt I Stood Upon The Scaffold" is a variation on the traditional Childs ballad "Gallows Pole", which was also covered by Led Zeppelin... only here, when the dreamer wakes from his nightmare, he finds himself in a prison cell with a priest and executioner standing above him. "Matty Groves" is another Childs ballad, mostly known from the Fairport Convention version although I first heard it here. And though Roland's voice can't compare to Sandy Denny's (few can, really), he paces the song well, and sings with the panache of a true storyteller: when I listen to him, I can feel Lord Donald's wrath before slaying his wife and her lover. The album then closes with a nice Celtic jig, appended to the end of "Matty Groves". That is, if you don't have the Greek edition of the album which adds a bonus EP with 4 more songs: "The Ratcatcher`s Daughter" is orchestral pop, probably inspired by the same-named 19th Century music hall number. "Sea Captain" is a nostalgic portrait of an old sea dog, the upbeat "Sporting Life" of a gambler and scoundrel, and "Baby Let's Play House" an unexpected Elvis Presley cover. The first 3 songs were later added to the album CD reissue, otherwise I'd urge you to seek this particular edition of the album - the bonus EP is that good.

***** for Candy Says, Matty Groves, The Sea Captain

**** for Dr Syn Is Riding Again, Pharaoh, Triumphs Of A Taxidermist, Grantchester Fields, Masque, The Mind Of William Gaines, I Dreamt I Stood Upon The Scaffold, The Ratcatcher`s Daughter, The Sporting Life  

*** for Meet Mr Scratch, Cocoon, Baby Let's Play House

The Unspoken Word "Tuesday April 19th" 1968****

This is one of many reissues of rare psychedelic LP's I have in my collection. Quasi-legal reissue labels (e.g. Fallout, Radioactive, Phoenix, Sunbeam) have recently unearthed and reissued all these albums that collectors had been advertising as "lost masterpieces", which can't possibly be true for all of them. Easier access has had a demystifying effect on most, but as I love music from that era I often take a chance with one of these reissues.  

This is one of the cases that the risk paid off. Some reviewers on blogs etc. have dismissed this album as a bit lightweight or poppy. I get it, on face value it's quite soft and melodic, with elements we've all heard before, but never quite the same way. Dede Puma's enchanted vocals reminds of Vashti Bunyan or Linda Perhacs while the boy/girl harmonies reminiscent of folk pop groups like The Mamas and Papas. The string and horn arrangements are close to orchestral pop (Left Banke, Orpheus) but I find them to be more jazzy and adventurous, as if the arrangers have been listening to Sgt. Peppers and Robert Kirby's arrangements for Nick Drake. And if you doubt their psychedelic credentials, listen to "Moving Day" and, especially, "For The World" and tell me if you don't discern echoes of Barrett-era Pink Floyd. The album opens with "Anniversary Of The Mind" which features lead vocals by guitarist and main lyricist Gene Stashuk and a charming oriental melody, while "Waking Up" is a mid-tempo rocker, and "After The Before" a ballad with gentle harmonies. Among the more psychedelic and beautiful songs here, "Flock Of Birds" and "Distant, Oh So Far" remind me of Jefferson Airplane in the boy/girl vocals and of Love's Forever Changes in the orchestral arrangements. Too bad the original LP ended with the rather silly "We're Growing", a tune only suitable for a kindergarten with a very hippy-dippy teacher. The reissue, though, continues with 4 more songs from pre-album singles. "Boy" is a folk psych ballad with gorgeous singing by Dede, and "Beautiful Day" a pleasant sunshine pop tune a la Mamas and Papas. Nevertheless, there's one thing about this album that still nags me: whatever did happen on Tuesday April 19th, and which year are we talking about, exactly? Not 1968 when this album was released, that's for sure. April 19th fell on a Friday that year - I know such things. I couldn't find any clue to it on the net, so I guess the truth will remain unspoken. 

***** for Flock Of Birds

**** for Anniversary Of The Mind, For The World, Waking Up, After The Before, Distant, Oh So Far, Boy, 

*** for Moving Day, Rossby, Sunday Suit Of Clothes, Nobody's Nothing, On A Beautiful Day, And It's Gone

** for We're Growing

George Martin "In My Life" 1998**

Often referred to (by, among others, Paul McCartney) as the fifth Beatle, Sir George Martin has scored music for the theatre and cinema, and has produced and arranged many records. Despite that, he'll always be remembered mostly for producing (almost) all our beloved Beatles albums - the exception being "Let It Be". His contributions (the string quartet on "Eleanor Rigby", piano solo in "In My Life") were on the spot and helped raise some already great songs to the level of masterpiece. So it's no surprise that he returns to the Beatles songbook here. What is puzzling is his oddball choice of collaborators, ranging from talented musicians (Jeff Beck), less talented musicians (Celine Dion), talented non-musicians (Robin Williams) and non-talented non-musicians (sorry Goldie Hawn!). He tries to give new twists to the familiar tunes and is only intermittently successful. Opener "Come Together" by actor Robin Williams & jazz singer Bobby McFerrin is pleasant enough, if redundant. On the contrary, re-imagining "A Hard Day's Night" as sensual late-night jazz with Hawn imitating Marilyn Monroe is a bold and interesting move. Jeff Beck on electric guitar delivers a masterful instrumental jazz-rock version of "A Day In The Life", ditto for acoustic guitarist John Williams on a beautifully orchestrated version of "Here Comes The Sun". Virtuoso violinist Vanessa Mae gives her own classical interpretation of "Because", aided by a choir. Celine Dion turns everything into pop mush and "Here There & Everywhere" is no exception. The orchestration is reminiscent of James Bond movies, of which Martin has scored a couple. Phil Collins delivers a medley from "Abbey Road". The comedians try to inhabit the characters in the songs as if they were movie roles: Billy Connolly impersonates a circus ringmaster on "...Mr. Kite", while Jim Carey tries different voices as he obviously doesn't have an idea who "The Walrus" is supposed to be. It's said he was inspired by a character from "Alice Through the Looking-Glass" but I guess only John Lennon knows for sure, and he isn't around to explain. Martin also reprises here his instrumental music from the "Yellow Submarine" soundtrack, which has to be the less-played side of any Beatles record. For those who don't own the LP, side A contained the songs and Side B the orchestral movie score. Nobody ever turned it around to listen to Martin's composition, so he must have thought it was worth another chance and included it here. Another Martin instrumental is "Friends And Lovers" a beautiful orchestral piece that segues into the centrepiece of the album "In My Life". It features Sean Connery reciting the words of the song, backed by a sad piano and strings. I'm sure it was supposed to be a sensitive and affecting epilogue, but I found it fairly ridiculous. The album was designed to be Martin's final statement, at the age of 72. As it turns out, he lived enough to celebrate his 90th birthday and only passed away earlier this year. It was one of the shocking deaths of 2016, only instead of "I can't believe that Bowie (or Prince) is dead" it was "I can't believe George Martin was still alive". No disrespect meant - the man left a tremendous legacy behind. Any time you want to celebrate it, play The Beatles' Rubber Soul or Revolver. Not this CD.

*** for Come Together (Robin Williams & Bobby McFerrin), A Hard Day's Night (Goldie Hawn), A Day In The Life (Jeff Beck), Because (Vanessa Mae), Here Comes The Sun (John Williams), Golden Slumbers/Carry That Weight/The End (Phil Collins), Friends And Lovers (George Martin)

** for Here There & Everywhere (Celine Dion), I Am The Walrus (Jim Carey), Being For The Benefit Of Mr. Kite (Billy Connolly), The Pepperland Suite/March Of The Meanies/Sea Of Monsters (George Martin), In My Life (Sean Connery)

Flairck "Variaties op een Dame" 1978***

Virtually unknown outside of The Netherlands, Flairck must have been quite popular here in their prime - I'm judging by the amount of old LP's on sale in record fairs and in antique/ charity shops, the everpresent in Holland kringloopwinkels. The band's music is usually categorised as prog, though there's not even a hint of rock about it. It's all instrumental and played on acoustic guitars (Erik and Hans Visser), woodwind instruments (Peter Weekers) and violin (Judy Schomper). A fair description could be "chamber music with folk and world music elements". The latter are, for example, evident in the pan pipes of the gentle opener "Aoife". "Voorspel in Sofia"  is a fast number with gypsy swing guitars, classical violins and Jethro Tull-ish flute. "April 3rd" is a sleepy sitar tune, while "Oneven Wals" is a pastoral piece enlivened by the insertion of Celtic reels and jigs. The main attraction is, of course, the same-named "Variaties op een Dame" (Variations on a lady). It is a 21-minute suite with slow and fast passages through classical, folk and ethnic melodies. Without a doubt a display of superior compositional and instrumental skills. The album closes with the forgettable country-ish acoustic guitar of "Dubbelspel". I'm not really a fan of instrumental music but I enjoyed this album. It works great as background music - who knows? maybe it was conceived as a musical backdrop for intimate sensual contacts. The album title and cover are suggestive enough, as for a title like "Foreplay in Sofia", that goes beyond mere suggestion. Well, maybe that's the explanation for both its popularity in the 70's and why the 2nd hand stores are now all full of it: 40 years later, those former lovers have less use for it, so off it goes to the thrift store. Get it and let their loss be your gain - because all joking aside, it is a very good record!

**** for Aoife, Voorspel in Sofia, Variaties op een Dame 

*** for April 3rd, Oneven Wals, Dubbelspel 

Rodrigo Leão "Cinema" 2004****

If I knew that Rodrigo Leão was a founding member of Madredeus I'd be better prepared for what I listened when I slipped this in the CD player of a used records shop in Lisbon. The name of Portishead's Beth Gibbons on the cover sticker had me thinking this'd be some kind of Portuguese trip-hop, but opener "Cinema" welcomed me with soft keyboards and lyrical strings that did indeed seem to belong to an arthouse movie rather than a pop CD. Follower "Rosa" continues in the same mood, with dreamy vocals by Brazilian singer Rosa Passos giving it a bossanova flavour. "Lonely Carousel" is a smoky, sensual tango with Gibbons on vocals, "Jeux D'amour" is a soft ballad and "La Fête" a sweet waltz, both sung in French by the Belgo-Portuguese Helena Noguerra. The album justifies its title by containing many instrumentals that sound as if they've escaped from the soundtrack of Amelie or some other equally stylish European film. Of those, "A Comédia de Deus" and "A Estrada" are lively quasi-tangos with strings and accordeon, "Memórias" and "Uma História Simples"' strings will make you feel warm and fuzzy, while "A Cidade Queimada", "O Último Adeu" and "António" (featuring Ryuichi Sakamoto on piano) are stark and melancholic piano pieces. The Gift's Sónia Tavares takes the lead vocal for the Portishead-like "Deep Blue", jazzy torch song "Happiness" and Americana-waltz "L'Inspecteur" (think Calexico in French). This is an album I can listen to countless times back-to-back. It's not pop, classical, jazz or folk, just beautiful introspective music - perfect for relaxation and daydreaming. I feel stingy for only giving it 4* but I'm convinced it's an objectively fair rating.

***** for Lonely Carousel, Jeux D'amour

**** for Cinema, Rosa, A Comédia de Deus, Memórias, Deep Blue, Happiness, La Fête, A Estrada, L'Inspecteur, António

*** for A Cidade Queimada, Uma História Simples, O Último Adeus

Joanna Newsom "Ys" 2006*****

That's it - my Belgian sojourn is over and I'm back "home" in Delft in the Netherlands. Normally home should mean Athens where I've spent most of my life but, after 6 years away, it almost feels alien to me. Not because of the duration of my absence but of the way everything back in the Greece has turned around in the last years. From my point of view the country is hardly recognizable: The austerity program imposed by IMF and EU has demolished both economy (deep recession and unemployment) and democracy (laws and government acts must be validated by technocrats operating without accountability on a strict neo-liberal agenda). The leftist government elected last year with an anti-austerity mandate resisted for 6 months before submitting to naked force and blackmail. Now the dominant feeling is one of resignation, desperation and anger. The country I left behind was not rich, but people weren't scavenging the dubsters for food. Nazis were laughed at or chased away, not elected in the parliament. I now feel more at home at quiet old Delft with its medieval buildings, beautiful canals and the most square and conservative students I've ever seen. 

Anyway, during my last week in Brussels I got to visit the city's grandly named Palais de Beaux Arts, which people have been pronouncing boz' ar' for so long it had to finally embrace the name change. Inside, though, it's still the typical baroque old European concert hall. Hardly the place for pop concerts but then harpist/singer/songwriter Joanna Newsom isn't your average pop star. Though a star she certainly is, the darling of photographers and film directors who love to tap into her slightly kooky fairytale personna. And while I read in a recent interview that she hates being referred to in those terms, she surely acts and dresses the part. Record covers like this don't help too: whose idea was it to dress like the daughter of druid Panoramix posing for a Botticelli portrait? Her dress in last week's concert was no exception, although these days she looks less elvish maiden and more fairy godmother. As for her music, in the beginning it was associated with the so-called freak folk movement and artists like Devendra Banhart and Vetiver, but it really is sui generis. For once, she must be the only modern artist using the harp as a lead instrument (she also played some piano in the concert). Her harp playing style is highly personal, neither classical nor Celtic or African, and her songs are often overlong and experimental. As for her voice - let's just call it unusual. Analogies with Bjork have been employed as to her singing style, which may not be an exact description but is a fair comparison. Like Bjork, you'll either love her voice or hate it, probably the latter.
Or you'll eventually embrace it, because that is the voice that goes with these songs - dreamy, childlike and idiosyncratic just like the music and lyrics. In the concert she sang with abandon, at times abruptly raising her voice, not caring about the odd bum note. Here she is more restrained, although the vocal emphasis is always on emotion rather than technique. It's telling that her vocal and harp were recorded by Steve Albini, an indie producer with a grounded sound vérité approach, only to be dressed with exquisite orchestrations by Van Dyke Parks, famous for the pop symphonies he produced for The Beach Boys. Strings and oboes abound, lending the music a lush symphonic feel. Lyrics are intricate and integral to the song. I guess we needn't ask the eternal question to songwriters, whether they write music or lyrics first. They most certainly pre-existed as poems or even short stories. An analysis would take forever, so I'll just post a link to a website dedicated to that purpose. Opener "Emily" is about her (astrophysicist) sister of the same name, combining shared personal memories and references to celestial bodies. An intricate, almost progressive, 12-minute piece it nevertheless is probably the most accessible and popular track of the record and even provided one of the highlights in the Brussels concert 10 years later. "Monkey & Bear" features Bjork-ish vocals and playful classical arrangements, as befits a fable populated by woodland creatures. "Sawdust & Diamonds" is slower and more understated and "Only Skin" a long poem filled with ingenious wordplay. The music follows many twists and turns, like a mini-symphony consisting of many parts. Closer "Cosmia" is (at 7+ minutes!) the shortest track here, relatively upbeat with supreme harp playing.

Newsom and band at the Bozar, Brussels 24/2/2016

Although Newsom comes from the alternative rock scene and is often categorized as folk, "Ys" (incidentally, the name of a lost Atlantis-like city of Celtic myths) is closer to progressive rock or even classical music in its grand scope and ambition. She'd later follow it with (another ambitious feat) a triple CD of more conventional songs drawing from jazz, pop and appalachian folk. It's perhaps best she didn't try to duplicate Ys's sound, allowing it to stand alone as a quixotic gesture and hyperbolic monument that'll forever polarize opinions. In any case, she continues to be a wonderfully eccentric, romantic and creative female figure in the tradition of Kate Bush and Tori Amos. May she stay in the clouds forever!

***** for Emily, Cosmia

**** for Monkey & Bear, Sawdust & Diamonds, Only Skin