Log #140 - Glass Goes Pop

In the early 80s Philip Glass attempted to go pop with his Glassworks album - an album deliberately designed for the Sony Walkman (invented in 1979). Two decades later German electronic composer Wolfgang Voight recorded an album of atmospheric drones under the name Gas and called it Pop. 

Philip Glass Glassworks
Tom Waits Foreign Affairs
Thievery Corporation The Mirror Conspiracy

Tangerine Dream Ricochet

Gas Pop

Richard Hawley Truelove's Gutter

This week sees the first entry for 2 1/2 years from Washington DC electronica duo Thievery Corporation who make the most of their overdue reappearance with a typically classy set of down tempo swing and groove via The Mirror Conspiracy. The album, their second official studio release, came out in 2000, but I first became aware of them the year before through their excellent DJ Kicks compilation which must be one of the best of that series. 

I'm really enjoying the Gas album POP. It almost goes without saying (almost) but this sort of music does require several hours of listening before the subtleties are absorbed. This is slow burning ambience, with some beats too (heartbeat pulses). It's much less dynamic than the Fennesz album I acquired at the same time (Endless Summer), but equally unique and original. The circular drones come at you in waves which have a wonderful lulling effect as you drift across the surface of the peaks and troughs of Wolfgang Voigt's oceanic soundscapes. 

I'm pondering seeing Richard Hawley at a forthcoming concert in my area. I think I should go. I love his records. The thing that's holding me back is he is just about to bring a new album out and current set lists reveal he is playing practically the whole thing (obviously at the expense of much from the earlier albums I so love - in particular this one, Truelove's Guitar, which is an absolute masterpiece).

Have I missed his peak, or will the new album be equally as good (albeit less familiar even if I get it immediately)? I have a similar dilemma with the Felice Brothers who I was very sad to miss 2 years ago when they cancelled their UK tour. They are returning in the new year but with a new album and a new band. Will they be the same? I think I'll go to them too. Both of these artists have been favourites of mine for a while so even if I may have missed their absolute best I'll still regret passing up the opportunity.

In so much as this can be ever possible Philip GLASS attempted something more commercial with his 1982 Glassworks album. Temporarily putting aside his symphonic and operatic works:

Glassworks was intended to introduce my music to a more general audience than had been familiar with it up to then.

Through 6 relatively short pieces Glass takes us on a whistle top tour of the Glass that we feel that we know - we have the solo piano (Opening), the abrasive organ (Floe), the haunting pipes over minor chord string arpeggios (Island), the frenetic abrasive keyboard loops (Rubic), the beautiful clarinet melody over string loops (Facades), and the repeated embellished piano coda (Closing). Like a Russian doll the opening and closing pieces envelope the two alternating pairs - the beauty and the bombastic, or the order and the chaos if you like - bringing the album together as a satisfying whole.

It could be a greatest hits record, but serves more as an introductory compilation to Glass music. To call such music minimalist does it a disservice. There is a lot going on here and rather than being in any way generic, Philip Glass is unique and instantly recognisable.

Glass succeeded in his intention - Glassworks remains his most commercially successful record today.

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Log #14 - David Bowie's Black Star a Year On

2016 began with the death of David Bowie in January and then continued with Prince and Leonard Cohen. The end of the year brought more musician deaths with the premature passing of George Michael and Rick Parfitt. These were the most famous names but of course there were other less mainstream losses in the music world which registered less comment, for example both Greg Lake and Keith Emerson from the fabled Emerson, Lake and Palmer prog rock pioneers.

Deaths are of course sad particularly so when premature - George Michael was only 53, Prince 57, and both David Bowie and Rick Parfitt were in their sixties. This sadness should really be irrespective of the fame of the person, our personal tastes in music, or our opinion of their importance or legacy, which is why it was a bit clumsy of radio personality Andy Kershaw to pour scorn upon George Michael mourners for elevating him to "greatness" when he was, in his opinion, nothing more than a lightweight and fleeting pop star...

Please spare me the predictable onion-from-pocket outpourings, claiming he was 'one of the greats'. No, he was not. (Really? Up there with Louis Armstrong, Johnny Cash, Joni Mitchell, Hank Williams, Jimi Hendrix, Robert Johnson, Van Morrison? I could go on…)

On one hand he probably had a point urging us to keep a sense of perspective (the Princess Diana phenomenon of massive public grief for someone very famous who we felt like we knew?) but whereas our perspective is often directed by the media (George Michael died the same Christmas Day a Russian plane went down with 92 on board - terrorist deaths in Paris are given infinitely more coverage than far greater numbers dying daily in the Middle East) I think Kershaw is missing the point here. I haven't actually got any George Michael albums in my collection and personally agree that the music of Van Morrison or Jimi Hendrix is "greater". But personally is the key word here that just defines my taste. Without being a fan I can still appreciate the sense of public shock and the connection many people of my generation had with those Wham! songs which were ubiquitous growing up in the 80s. George Michael, like Prince and Bowie, sold a lot more records, and was a lot more famous, than Van Morrison for whatever reasons, and when Van passes on one day I don't expect to see much news about it as he is more a niche artist outside the mainstream who has never had massive public or commercial appeal.

David Bowie was one of those unique artists who enjoyed both commercial appeal and critical acclaim across most of a career that included many twists and turns, retirements and rebirths. Much has been written about his death and the release of the Black Star album. The two famously coincided within a couple of days of each other and were accompanied by some extremely disturbing and challenging videos. The events seemed part of an orchestrated master plan - and we shouldn't be surprised as he has done this sort of thing before in a way with the staged "artistic" deaths of his various 70s personas including "Ziggy Stardust" and "Aladdin Sane". Rarely has an artist been so in control of his marketing and image, right up to and including the end. A true shape shifting chameleon - sometimes adapting to the surroundings, but more often than not actually making them!

David Bowie through the ages - the ultimate pop chameleon

Nearly a year on from its release I was interested to hear the Black Star music with some (that word again) perspective. This is quite hard to do with some objectivity but the album is certainly interesting and unusual with strident rhythms, driving bass and modern jazz horns, combining in a wall of sound. It feels like one of those atmosphere albums without particularly memorable melodies or catchy singles - a far cry from his classic pop of the early 70s albeit with some resemblance to his later work with the likes of Fripp and Eno and Tin Machine. This is certainly the feeling with the "first side" of the album which includes the title track and Lazarus, the two tracks released with those videos, and with the much analysed lyrics (incidentally the CD album comes in a beautifully packaged cardboard housing but the black on black lyric insert is quite hard to read!).

Look up here, I’m in heaven
I’ve got scars that can’t be seen
I’ve got drama, can’t be stolen
Everybody knows me now. 

The whole album only clocks in at around an old school 35 minutes (which is great by the way) with seven tracks - the last couple being quite easy listening relatively including Dollar Days with lovely sax solo - and Bowie is in strong voice throughout. Whether this album will stand the test of time like my favourite all time Bowie album Hunky Dory remains to be seen but I am confident it will be one I'll return to.

You know,
I'll be free,
Just like that bluebird,
Now ain't that just like me. 

Bluebirds are thought to represent angels from heaven spreading joy and peace

Incidentally I also viewed an intriguing film recently - Velvet Goldmine starring Ewan MacGregor, Christian Bale and Jonathan Rhys Meyer. The film starts with Rhys Meyer's character, a glam pop star named Brian Slade, faking his own death on stage, disappearing into obscurity before making a comeback a decade later. I was at least half way through before I realised this was the David Bowie story, with supporting cast including Lou Reed and Iggy Pop.

Although what you are about to see is a work of fiction, it should nevertheless be played at maximum volume.

The above caption appears in the opening credits of the film, perhaps a witty slight of Bowie himself who reportedly refused to sanction the movie.

Brian Slade fakes his own death in Velvet Goldmine

A couple of new albums procured this Christmas - the other Whitest Boy Alive album Rules and JJ Cale's Naturally. Both sound as expected - no surprises. I also span Jurassic 5's LP album which has the amazingly catchy Schoolyard Concrete track. I guess this may be their most famous tune, if not it should be!

1. The Whitest Boy Alive - Rules
2. David Bowie - Black Star
3. Jurassic 5 - LP
4. JJ Cale - Naturally
5. Thievery Corporation - DJ Kicks
6. Cocteau Twins - Heaven or Las Vegas

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