What's New?: 8.20.2011

Some sweet mail order finds. . .


Gavin Friday and Maurice Seezer — The Boxer Soundtrack (1998)

Gavin Friday and Maurice Seezer — In America Soundtrack (2003)

I *ahem* "ACQUIRED" these two soundtracks years ago before it occurred to me to look for newer albums second hand. Catholic recently lit a spark for me to acquire proper copies and I did for cheap on Amazon. I had previously saved these albums on an external drive that crashed over a year ago, so I consequently lost them. Going back now, I like them more than ever, with a definite preference for The Boxer. It contains more variety and the music is more Gavin Friday-ish. So, in this sense, it's more like a proper Gavin Friday album. Spooky beats and lush strings amidst vocal cues from the film and two proper Gavin Friday songs (rather good ones, too) make for a darn fine listen. In America, on the other hand, takes on a more traditional Jewish sound for the bulk of its time (no doubt more fitting with the visual accompaniment; but not outright unenjoyable on its own). The actual score parts are much more sparse with long, floating melodies. The only proper song is 'Time Enough for Tears' which features Andrea Corr on lead vocals. Can't say I like it. Overall though, these albums stand apart from the films as their own entities. I always have to admire film soundtracks that I like without ever having seen the movies.

The Reegs — The Reegs (late 80's/early 90's)

You know, it's so easy for Chameleons fans to just jump on the Sun and the Moon when looking for more from the former members. The band released an album on a major label that has stayed relatively easy to find over the years and the main thing that most of us connected with (Mark's voice and lyrics) is there. But what about the other half of the band? Arguably even more recognizable than Mark's big booming wail and relatably insightful world wise lyrics was the dual guitar attack that the Chams had. Reg Smithie's overdriven melodic rhythm parts and Dave Fielding's gargantuan walls of swirling echo are the stuff of legend with good reason. Together, the two created one of the most distinct and influential sounds in 80's post-punk. But because they released records on the low key independent label Imaginary and never really gigged outside of the UK, their post-Chameleons project, the Reegs, has remained a bit of a shadowy, mysterious entity for Chams fans (especially for us in America). Well, along with the great deluxe editions of the proper Chams albums that Blue Apple Music has been doing the past few years, the boutique label also gathered up the entirety of the Reegs' output from the late 80's and early 90's and packaged it together as a two disc set. Fully remastered and restored with new artwork by Reg and now featuring outtakes, radio sessions and previously unissued recordings (including a brand new track called 'Bosnia 2009' in which Chams fans finally get to hear something we've all been curious about for a long time: Dave sings lead [!!]). The sound of the band is immediately recognizable for Chams fans, as pretty much every song here has that rush of Dave and Reg's inimitable dual guitars. There's a bit more of a dream pop element at play here. While there's certainly a lot of distorted and downright rockin' guitar sounds, there's never any real rock out moments that the Chameleons could explode into at any point. The entire thing hangs together exceedingly well and across the two discs, there's too many highlights to really cover all of them. My personal favorites so far are 'As You Leave', the trippy Cocteau-ish instrumental 'JJ180' and the epic swoop of melancholy beauty on 'The Nasty Side.' Overall, just a weird combination of sounds and ideas that shouldn't work, but does (perhaps surprisingly well). Two guitar players so in tune to the other's sounds and moods that to say they compliment each other seems inadequate, a drum machine and a bloke that sometimes sounds like Dave Gahan on vocals ranting about relationships gone sour. The only complaint I have: the liner notes were a bit disappointing, as no official band discography is offered. So, as the songs are not sequenced chronologically, it makes for a bit of a frustrating listen for my inner music curator. Overall though, really excellent stuff. So pleased to finally have it all in one place. Well done.

Tony Bennett and Bill Evans — Together Again (1977)

Finally got this one after years of knowing and loving their first collaborative album. This one has always been a bit more of a tough find, as it was originally released on Bennett's own Improv label. It sits very well next to the first album and even though I'm not a Tony Bennett fan otherwise, I really have to hand it to the way he sings these tunes. The best part is the song selection, as these are mostly tunes that was in Evans' repertoire at the time, so it's great to hear just how good he was as accompanist as he was as the highlight. This CD reissue has a wealth of bonus tracks, containing at least half of the album in alternate versions. Very mellow, pure class.

~Austin

Top Five: The Inaugural Edition

So, as a way to keep myself involved in writing on this blog and have a fun entertaining way have a reason to spout off, I'm starting a new series of posts. In a tribute to one of the most music nerdy movies ever made (High Fidelity, of course), I'm going to start doing Top Five lists every few days. The topics may seem esoteric or random, but I will try to keep them as interesting (and maybe even entertaining) as possible. There won't be a designated update day or time; simply whenever I feel like it. But expect at least a couple each week.

So, for today's topic, we'll start with something fairly simple and something close to my heart: the Top Five post-acid house/"Madchester" Manchester albums.

Countdown style.... here we go...

#5 — Oasis — The Masterplan (1998)

Ah, what a copout, they may say right off the bat. He put a fookin' b-sides compilation instead of a proper album. Yep, I suck because this, in my brain, is the finest Oasis album. But I like them ballads these boys be playin'. And, whoo boy, are there a bunch of great ones on here. You betcha.

#4 — Doves — Lost Souls (2000)

A fine introductory effort (or, re-introductory if you count Sub Sub), this album introduces these guys' intricate, Robert Smith-like layered style of songwriting and epic scope in one fell swoop. An album that grows and grows in stature with each listen, it has taken me years to fully appreciate it, but I think I'm finally there. In a rare occurance, the American version had bonus tracks. Cool.

#3 — Morrissey — Your Arsenal (1992)

Holy crap, did Morrissey let the dogs out on this one, or what? I sometimes have foolish moments of weakness and ridiculous nostalgia rembering seeing 'The More You Ignore Me, the Closer I Get' on MTV in the summer of 1994 and start to think that maybe Vauxhall & I is his best album, but then the ghost of Mick Ronson comes over and plays the lead riff from Ziggy Stardust in my face and I realize that, yes indeed, Your Arsenal is the finest album that Morrissey has stamped his name on. It is all of the following: his catchiest work, his hardest rocking work, his most personal work, his most scattered work and his most irreverently funny work. Whoo, this album rules.

#2 — New Order — Technique (1989)

One of the first albums to come out of Manchester in the initial aftermath of the 'Madchester' explosion, it's also one of the finest. I've said forever that this is one of the top ten or so albums of the 80's and everyone I say that to kind of gives me the shifty eye afterwards. But listen to the record and you can hear shreds of influence it's left on (and is still leaving on) countless bands ever since. Besides that though, the songs are top notch. There's not a bad one in the bunch. You know an album is delicious when the singles are the worst tracks on the album.

#1 — The Chameleons — Why Call It Anything? (2002)

As if you didn't see that coming! This is the Chams' best album. It is their most well-rounded, hardest rocking and best executed album. It sumarizes all of the best things about the band's old material and picks up on the directions the bands they influenced started and takes that direction into a special place. No singles, no b-sides. Just nine of the finest songs to ever come out of Manchester. A fitting and redemptive conclusion to their career.

Stay tuned for next time... it should be fun...

~Austin

James Oakes and the Bellows.

A couple years ago, I was absolutely ecstatic to learn that one of my all time favorite musicians would be playing a solo show just hours away from me. Yep, I purchased tickets immediately to see Mark Burgess play in San Francisco.

After seeing the above flier, I wondered what/who James Oakes and the Bellows were. I didn't care, honestly. I was going to see Mark Burgess. Maybe he'll play 'Perfume Garden' and 'Second Skin.'

Fast forward to the show. It was not packed. Not even at capacity. And for a small venue like the Great American Music Hall, that was mildly disappointing because as a huge fan, I feel like Mark Burgess does not have the sizeable following he should. Anyway. It was a double-edged sword because, despite my disappointment, I would be treated to one of the most intimate and flat out best shows I've ever seen. And that wouldn't be all on account of Mark's performance — though he was fantastic and the highlight of the bill. Played audience requests, all the old Chams songs I wanted to hear and was an amazing presence.

But that's not what this post is about.

At the time, I did grow a little impatient, because I saw Mark hanging out at the bar during their set, but in retrospect, James Oakes and the Bellows were amazing.

When they came on stage, admittedly, I thought they were a group of four very mediocre looking fellows. My cynicism kicked in and the memories of seeing countless awful opening bands came rushing back into my brain. I have to admit this genuinely affected me through the first two songs to where I don't even remember what songs they played.

My first real memory of the band is James, in a between song banter moment, being completely overwhemled and genuinely speechless when trying to explain to the audience how important and influential Mark's music had been on himself and the band. It compelled me to be a little more open minded.

And then they played 'Way Down.'

Needless to say, I paid very close attention to the rest of their participation in the remainder of the evening's music (the band came back out later on and backed up Mark for great renditions of Chams tunes). The other three members of the band were all very competant, but not really flashy in their performances (and in the case of second guitarist Mike Arntz, seemingly a little terrified to be on stage; but that didn't show at all, especially when he played 'Tears'). James, however, is a captivating frontman. Throughout the band's set, I kept thinking how good he sounded vocally. And maybe it was just because he wisely uses his voice within the restraints of the music the band plays, but I was genuinely impressed.

Well, time has passed. I wanted to buy some CDs right then and there at the show, but there was (very disappointingly) no merch table. Upon visiting the band's page out of curiosity periodically and checking out the MP3 songs offered on the page, I finally decided recently I should contact James and purchase the band's two albums properly.

And am I ever glad I did.

They sort of sound like a hybrid of the Smiths jangly guitars meets the more spacious moments of the Chams, all with a distinctive hint of Americana thrown in. But, in James Oakes venerable vocals, the band's sound takes on a completely different vibe. He's got a vocal style that recalls no one I've ever heard before, but with a similar timbre and cadence to Archer Prewitt (of all people, possibly explaining why it appeals to me so much). With songs like the ambitious mini-epic 'Outside' (from the album of the same name), the boys create something that is distinct and resonating, but always with heaps of catchiness and amazing riffs. It's not jangle pop, it's not power pop, it's not guitar rock, it's just good guitar-oriented music.

The first album (Outside, 1998) is mostly James playing everything (except drums) and singing. A mound of fifteen excellent strummers, it's highlighted by: the two openers; sunny "Liberty Bell" and the slow loping breeziness of "Policeman", along with the previsouly mentioned amazing title track and the rolling Cure-ish melancholy of "If You Can Find Me." Truly not a bad song in the bunch, the only real criticism I have of the album is its nearly too-samey production. Even though the songs are good enough to overcome it, it may take a while for them to all develop identities of their own.

The follow-up, Color the Wheel (???2002???), on the other hand, follows through on the potential previewed on Outside. Although the sound is largely unchanged, there are slight variations that provide a more well-rounded and overall better record. Starting with "I Don't Want to Fall", a flat out great strummy pop song, and then launching immediately into the album's (and possibly the band's) climax "Way Down", it's a wonderful record to accompany you in just about any scenario. "Way Down" is kind of surprising because its chunked up guitar tone and and near twang is very uncharacteristic for the band. But James' refelctions of "Trying to forget and trying to remember... trying to find some piece of mind" provides a stark contrast to the musical backing's otherwise sunny persona. With such a highlight so early on in the record, I initially thought it would be the case of the band firing all of its shots too quickly. But, instead, the rest of the album is just one vintage sounding song after another; except all of them are absolute stunners. Other standouts for me are "I Don't Know Why", "Wouldn't it Be Nice" and the time signature switching "Call Me", all surely album highlights on any lesser project, but here they are each just more strong supports in the album's rock solid consistency. The production is chunked up and much more varied here and the songs feel completely developed. Just a wonderful record that sounds like something that should be a lot more well known than it is.

It's such a refreshing thing to hear bands like the Bellows making music that is so timeless and honest. And while they certainly have their audible touchstones and points of influence, it is a case of a band understanding where influence should end and inspiration should begin.

Absolutely wonderful music.

Check it out.

~Austin

Mark Burgess — View From A Hill

Well, I finally recevied and read through Mark Burgess' autobiography this past week. Besides the book being autographed and personally addressed (!!!!!!), I have to say, I am thoroughly impressed and excited about it. I ran through its 700+ pages in about ten days and it's the quickest read I can recall from recent years.

(I interrupted Henry James' Wings of the Dove, which I was about halfway through, to take on View From A Hill and now I'm a little disappointed to go back to it, in complete honesty)

My initial thought of the book is that it's a completely essential document for any fan of post-punk music of any sort. Startling candid in his approach, Mark only scarcely hides explicit details about coming of age in the new wave era, so you can gurantee that there's plenty of sex, drugs and rock and roll. But there is a stark, humanist slant to the whole thing —as if that's any surprise to longtime fans— that places extra emphasis on nature, the looming despair of life, being an activist for human rights and general good will and the downright disgusting experience that is sushi bars. Yep, it's all here... and for Chameleons, it is the virtual bible, complete with a trip to Jerusalem (no, seriously).

In the midst of the book's recent release, the message boards over at www.thechameleons.com has been buzzing, so here are some posts that I've made while reading the book and in the initial aftermath of finishing it...

In response to the general topic on the book:

"Jun 8 2008, 11:58 AM

Well, I'm through the first six chapters (about 250 pages in) so far and I have to say, the story is absolutely engaging.

The writing style is very quick and kind of scattered. It feels like perhaps Mark thought of things he wanted to include before writing and then went back and pieced them together afterwords. He uses similar devices in different settings and while that would become tedious under any other circumstance, as a huge Chams fan, you stop noticing because the subject is aboslutely fascinating.

So, in other words, sure it's only for the biggest of fans, but for us, what a gold mine.

So far, my only big complaints would be 1) that it's scattered and not completely linear and 2) there are quite a few grammatical errors, but that is usually the case with first editions in smaller runs and is completely not Mark's fault.

And mine was signed and dated 10 May. So, yeah."

In the same topic, in regards to all of Mark's recollections of meeting other rock stars on the road:

"Jun 12 2008, 07:56 PM

'Robert Smith struck me as a rude, arrogant poseur.'

At that point, I laughed coffee through my nose."

In the same topic, in regards to the fact that the Paypal receipts for payment on all pre-orders had been printed on the back of original proofs from different pages of the book, making each one a collector's item in itself:

"Jun 13 2008, 07:11 AM

No, I think that was done intentionally. As an extra little collectible, so to speak.

I was also very excited to see that."

(to which a clever co-poster replies, 'I thought Mark was just recycling.' Hardy har har)

Immediately after reading a nice little tidbit:

"Jun 16 2008, 01:41 PM

So, I'm about two-thirds of the way through and I have to say the biggest revelation for me so far is that the drums on 'Serocity' are... Reg beatboxing!

I laughed out loud when I read that part, out of pure excitement."

And one last random burst of excitement in that topic at a random piece of trivia:

"Jun 20 2008, 03:56 PM

In other 'Holy shit THAT was Reg?!' news...

THAT WAS REG ON DRUMS ON STRIP!!!?!!!??!!!

Awesome.

And yes, just finished this morning and the last chapter is very much a scattered all over the place bit of personal manifesto and philosophy. Interesting, but hard to grasp some of the concepts he discusses at such short length."

In a topic titled, View From A Hill Editor's Section, Find a typo, win a quid, I very sassily retorted:

"June 22 2008, 10:34 PM

Yes, there are errors upon errors in the book —sometimes several on the same page— but, really, is the narrative lost on any of us?

The main people are addressed as who they are —it's not like Mark said 'Reg' and actually meant 'Marc Bolan'— and all of the ideas and concepts are clear. The biggest mistakes in the book are equal to typing 'teh' on instant messenger or some other ridiculously small mistake where everyone knows what you actually meant.

I, for one, am absolutely enamoured with the book after one cover to cover reading... and I can't wait to read it again — typos and all."

And, finally, in a topic titled 666 Happening... (a reference to a series of events that Marks alludes to over several chapters which all involve the number '666'), which other members replied to and the conversation eventually leaned towards how Mark points the finger at Dave Fielding's behavior several times for the Chams' internal conflicts, I got very poignant and self-absorbed:

"June 22, 2008 10:56 PM

Well, I know there is quite a few topics on here currently about the book, but I will indulge one last time...

...maybe in hopes that one of the band members will read my thoughts and consider them; even if briefly...

The main thing to keep in mind is that the book is View From a Hill by:

***MARK BURGESS***

Not Mark Burgess, Reg Smithies, Dave Fielding, Jon Lever, Tony Skinkis, Tony Fletcher, Martin Jackson and "Scoffer," as Mark so effectionately dubs him (I have to admit, I laughed each time I read that).

Not Mark Burgess and Yves Altana.

Not Mark Burgess and Sally.

Not Mark Burgess and Daniela.

Not Mark Burgess and Simon Lawlor.

Not Mark Burgess and Bryan Glancy.

Not Mark Burgess and James Oakes.

(hey, sidebar: when can we get some JO on iTunes?)

None of those people wrote this narrative except for Mark.

OF COURSE IT'S NOT GOING TO BE COMPLETELY OBJECTIVE.

We've all known for ***years*** that the main conflict in the band was between Mark and Dave. Yes, that is completely and wholly unfortunate for us because we love the music and records they created during their time in the Chameleons. But, can we, hopefully as mature adults (?), simply recognize that the personality conflict between those two amazing muscians was too strong to overcome the equally as amazing creative chemistry between them?

Yes, so and so did such and such and it was an awful thing to do.

But, after three classic albums, countless unforgettable gigs and enough memories to keep us all telling stories to anyone who will listen for as long as we live, isn't that enough to ask?

I, for one, applaud Mark's decision to tell his story in the way that he did. It tells the story of a band that many of us have come to call 'ours.'

However, the book is his, through and through. The Chameleons are certainly a large part of [t]his, because the band is clearly a large [part] of his life (as it certainly is for Dave, Reg and Jon). But, at the end of all of it, it is his life and although the Chams consumed much of it, there are other parts.

I loved the book and I loved reading his impressions of doing acid at Loch Ness.

Bottom line: he's a great story teller and the story is, without a doubt, HIS.

PS — Didn't he claim Reg's behavior as the final straw for him quitting the Chams in the first place? Not to continue a ridiculous discussion, but that seems a pretty important bit to overlook."

And so, my personal conflicts about posting on the Chameleons message board did unfortunately and ultimately invade on my ability to enjoy Mark's book on its own terms. But I did enjoy it immensely, even disregarding that whole situation.

Honestly, I'd love to hear Reg's side of the story, with short bursts of belligerent attacks from Dave and Jon. Not only would it be hilarious, but we'd hopefully be treated to passages like, 'Has that cunt come back from Jesusland yet? No? Bloody fookin' 'ell, are we going to play this fookin' American tour or not?!!??!'

Hopefully, it will coincide with the remastered and expanded Reegs reissues.

Oh, I can't wait, my friends.

Do yourself a favor and invest in a copy of View From A Hill.

~Austin