1. Randy Newman -
Lonely at the Top
2. Nitin Sawhney
- Beyond Skin
3. Blue Oyster Cult
- Spectres
4. Barclay James Harvest
- Gone to Earth
5. Jethro Tull
- Aqualung
6. Paolo Nutini
- Sunny Side Up
A quick word on a super local band who have been doing the rounds for a while - I had the pleasure of seeing
The Mountain Firework Company at the
Wellington pub in Shoreham the other night. If you get a chance catch them live and enjoy their effortlessly great swamp folk Americana. Lovely harmonies, sensitive brush stick rhythms, and a fiddle sound to die for. Bands like this should be huge but they probably don't want to be.
Barclay James Harvest eh, or BJH for short. That’s a strange one as is their name. Apparently this was decided by drawing random slips of paper from a hat and the word Harvest came before the subsequently named fledgling label they were signed to.
I first heard them at a school friend’s house one evening – I’d just broken up with my girlfriend. A girl named Penny who had decided to go out with my sister’s boyfriend, but that’s off the point! Their music is pretty sad but it was a small consolation to discover them that evening as I’d spent some time looking for other bands that sounded like King Crimson who I adored at the time, and with their prog rock mellotron strings they fitted the bill pretty well.
[They were].. everything that identified progrock then: vaulting themes, orchestra, wailing guitar riding heaving swells of tempestuous music like a doomed ship out of Coleridge, lyrics arising from areas other than the crotch, and a dexterity that would turn most composers and players on their heads.
Marc S. Tucker
Discovering new music and subsequently lending it around school was a constant excitement in those years (something I feel must be lacking in today’s digital world). I had an album called
New Morning or something – an early compilation and amongst the odd mix of acoustic Simon and Garfunkel type tunes and rather portentous classical rock there was a tremendous rocker called
Taking Some Time On. This tune (albeit not really representative) really turned me on to BJH and plenty of my friends too.
Progressing through the 70s their writing became more expansive and ambitious but their bloated live performances with full orchestra, allied with poor record sales, almost bankrupted the group before they underwent a renaissance with an enforced change of record label and a rebirth as a (relatively) stripped back four piece.
For a short time I bought everything they did. Personally I think they peaked with
Octoberon (1976). By then they had mellowed somewhat and were writing largely radio friendly soft rock - songs like
Rock N Roll Star should have been massive. After that they began that all too familiar terminal decline into 80s synthesizer irrelevance - an affliction of many 70s rock bands.
Despite playing some massive concerts (famously a 1980 live album was recorded in front of 200,000 in Berlin) they were always on the fringe of success. Bassist and singer Les Holroyd recently theorised that this had something to do with them refusing to join the London scene and remaining a "northern band". Maybe their music was just a little bit too twee – much more Moody Blues than King Crimson in hindsight - there is even a track called
Poor Man's Moody Blues on the 1977 album
Gone to Earth. It also sounds quite religious – something that I hadn’t really clocked at all before playing this album again this weekend.
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| The classic line up Wolstenholme, Lees, Pritchard, Holroyd |
I saw a Holroyd incarnation of them relatively recently in Hove where they hesitatingly played to only about 300 people – what a fall from grace (albeit a relatively short-lived grace you could say). The persistent downbeat vibes surrounding this underachieving/underrated band were heightened poignantly with the suicide of keyboardist Woolly Wolstenholme in 2010.
While we are on underachievers let's talk about The Blue Oyster Cult. As I mentioned in an earlier post somewhere their early albums like their eponymous debut,
Secret Treaties, and
Tyranny and Mutation, are tight rock albums with an original twist. They then had their big hit
Don't Fear the Reaper and like a lot of rock bands of the time drifted into a slightly more poppy sound on
Spectres and
Mirrors. Then possibly continuing to chase commercial success they went heavy metal with a sci-fi bent in the early 80s even recruiting sci-fi writer
Michael Moorcock to pen some lyrics (as he had done for Hawkwind). Incidentally if you aren't familiar with the writings of Moorcock checkout his brilliant novella
Behold the Man about a time traveller who returns to the time of Christ with blasphemous consequences.
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| BOC - ELO in leathers (plus Saturday Night Fever) |
I picked up
Spectres on the strength of the literally spooky cover! I don't remember many specific album purchases but I do this one, a single LP purchase one afternoon from an old record shop in Havant. The whole album doesn't particularly gel what with it's mix of rock tunes and ballads (indeed the picture above may suggest some degree of identity crisis although their mysterious mason like symbolism and umlauted "O" were always cool and consistent). Aside from the straight rockers like the catchy
Godzilla there are beautiful tunes like
Fireworks and
I Love The Night, some super tight pop like
Searchin for Celine and
Goin' Through the Motions, and some epic prog like
Golden Age of Leather and
Nosferatu (lyrical extract below).
This ship pulled in without a sound
The faithful captain long since cold
He kept his log till the bloody end
Last entry read "Rats in the hold.
My crew is dead, I fear the plague."
Da da da da daaaa da! In case you didn't recognise it, that's the riff from the title track to Jethro Tull's
Aqualung - one of the most famous guitar riffs ever. It's a very strong album and probably the "go to" one for new Tull fans. Apparently there is debate about whether it was meant as a concept album - the first side about a tramp like character called Aqualung, and the second side a commentary on organised religion (actually isn't all religion "organised"?). But Tull leader Ian Anderson dismissed this:
Aqualung was just a bunch of songs.
And a mighty fine bunch of songs it is including heavy rockers like
Cross Eyed Mary, Hymn 43, and
Locomotive Breath and acoustic gems like
Cheap Day Return and
Mother Goose.
Anderson was reportedly not best pleased with the similarity between the painted Aqualung figure on the album cover and himself!
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| The fictitious Aqualung and the real Ian Anderson |
Just a quick word this week on slots 1 and 2. Multi instrumentalist and composer Nitin Sawhney shot to fame when his album
Beyond Skin was released in 1999. It is a slickly produced affair melding indian influences with electronica and jazz plus some beautiful piano pieces like
Tides.
Singer-songwriter-pianist Randy Newman eschewed the Hollywood/Laurel Canyon/Troubadour scene of his native LA in the late 60s and early 70s when contemporaries like Neil Young, James Taylor, Jackson Browne and Joni Mitchell were seeking fame and fortune. This didn't stop him producing some critically acclaimed albums like
Sail Away and
Good Old Boys full of political satire and irony, and well represented on this 1987 compilation album. Now he has fully embraced Hollywood gaining a wealth of grammys and oscars for his film compositions especially the tunes for
Toy Story.
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| Randy Newman - We Talk Real Funny Down Here |
