Tuesday, August 11, 2009

PILOT/The Reissues; Available NOW on RPM/Cherry Red


Here in the U.S. of A., PILOT are best known for their hugely successful 1974 hit "Magic". I must admit that, 35 years after the single's release, it remains one of my all-time favorite songs. EVER! I've never been able to get enough of it and no matter how many times I've heard it, I want to hear it again. It'd be safe to say that I've heard the song more times than I've heard any other song in my life bar The Beatles and Elvis Presley catalogs. On average, I play the song no fewer than 100 times a year (probably twice that), which is more than almost any other song in my entire collection!


So, when the chance came up to review RPM/Cherry Red's remastered reissues of the first three PILOT albums, I jumped on it. I almost couldn't sleep for the week or so it took for the CDs to arrive. Once I had them in my grubby little hands, I couldn't sleep for another week until I had full absorbed them again into my system. I still can't sleep since they songs are constantly spinning in my head, day in and day out!


While some folks have compared Pilot to 'Power Pop' outfits like Badfinger, The Raspberries and Big Star, I tend to think of them as closer to classic song stylists like Emmit Rhodes, Nilsson, 10cc, Gilbert O'Sullivan and, of course, solo Paul McCartney. It's not that they band are world's away from 'Power Pop', but that term, to me, conjures up a guitar-based sound, whereas Pilot were all over the map yet relied more heavily on piano than chiming or crunchy guitar chords. Harmony-wise, Pilot were right up there with the best of them.


Initially, Pilot were a trio consisting of David Paton, Billy Lyall and Stuart Tosh. These three gents had spent their formative years separately as session musicians and played in many a live band, but they never tasted real fame until they joined together as Pilot. In two short years, the band recorded their first three albums and made a real impact on the music scene in the UK, Japan and across Europe. The U.S. fully embraced their debut single, "Magic", but the band were never able to tour and capitalize on their success over here and they sadly remain a one-hit wonder in the States.


Those first three albums have just been reissued on RPM, which is distributed by Cherry Red, and they've never sounded or looked better. And with a handful of demos added to each of the albums, they are essential purchases for anyone looking for smart, creative and melodic pop music, '70s or otherwise...


From The Album Of The Same Name, originally released in 1974, was the band's debut album (released as Pilot in the U.S.) and features the mega great "Magic", which is reason enough to own this album! It doesn't hurt that the album is chock full of other great Pop songs that are just as commercial and appealing as anything Macca or Nilsson were releasing at the time. While "Magic" is certainly the highpoint of the album, there are so many fine moments on this album that it's kind of hard to keep track of them: the pure pop of "Just A Smile", "Lucky For Some" and "Sooner Or Later", the music-hall stomp of "Over The Moon" and the rockin' "Never Give Up" are just a few highlights from the original album. In regards to the four bonus tracks, there's a b-side from their single as Scotch Mist, two excellent demos of unreleased tracks plus the original version of "Magic", which is absolutely stunning. This recording is less bombastic and sounds like it might have been recorded in a different key. The arrangement is very similar to the released version, but the melody really stands out more on this version. I've already listened to it at least 100 times and love every moment of it..... The album was produced by Alan Parsons, who really knows how to layer vocals and instruments and create a perfect pop soundscape....



Parsons was back in the producer's chair for the band's sophomore album Second Flight, released in 1975. By this time, guitarist Ian Bairnson had joined the band full time (he only appeared on a few of the debut album's tracks) and Pilot were temporarily a quartet. Second Flight is a satisfying Pop album, but doesn't reach the highs of the debut, chiefly due to the fact that the band was rushed back into the studio some six months after their debut was released. In modern times, even a semi-successful band will toil over one track in the studio for over a year, but Pilot wrote and recorded two albums worth of material in that same amount of time. Second Flight is far from a failure, though. With more delicious hooks dripping out of the speakers, it's almost the equal of the debut, but doesn't quite get there. "January", their biggest hit outside the U.S., is delightful. "Call Me Round" does get close to Badfinger territory (more Tom Evans than Pete Ham, though). The bonus tracks feature demos of three of the album's tracks and a demo of the non-album single "Lady Luck". My only complaint is that they didn't add the single version of "Lady Luck", which means I need to track down a Pilot compilation in order to add that song to my collection. And I am a collector, so the search beings after I'm done writing this blog...



By the time Pilot released Morin Heights in 1976, Lyall had departed the band and Pilot was a trio again. Musically, things were different, too. Parsons was out of the producer's seat, replaced by Roy Thomas Baker, best known for his work with Queen and, later, The Cars. His production lifts the band from the Pop ranks, throwing them in alongside the harder Rock bands of the time without losing any of their charm. The harmony vocals stray a bit from being Beatles-influenced and sound closer to Sheer Heart Attack-era Queen than anything the Fab Four ever recorded. The songs on Morin Heights are excellent, matching the consistency of their debut and placing the album a few notches above Second Flight. All of this was intentional, since the band was hoping to break out of their teeny-bop 'singles' band image and be taken more seriously as an album-oriented outfit. While initial sales were disappointing, they achieved their goal in spades. Morin Heights remains an excellent slice of Pop/Rock that certainly deserves the reappraisal it will hopefully receive due to these reissues. Highlights include "Canada", "Penny In My Pocket", "Steps" and "Running Water". Of the four bonus demos, three are previously unreleased tracks more than worthy of your time....



After Morin Heights, Tosh quit the band and joined 10cc and Pilot, as a duo, recorded one more album before splitting up....


If "Magic" is all that you know by Pilot, then do yourself a favor and check these reissues out pronto! You won't regret it!


Ho, ho, ho, it's magic, you know!

Stephen SPAZ Schnee

DURAN DURAN/Rio (Deluxe 2CD Edition) and Live At Hammersmith Odeon CD/DVD



Hollywood, California – July 20, 2009 – Capitol/EMI announces the September 22 U.S. release details for two new Duran Duran collections featuring several rare and previously unreleased recordings and videos.
The British pop band’s second album, 1982’s Rio, has been expanded for a deluxe 2CD ‘Special Limited Edition’ to include its original U.K. mix and several tracks remixed for the U.S. album release, as well as a second disc of demos, B-sides, and other rarities.
Rio’s new 2CD ‘Special Limited Edition’ will be housed in a deluxe, 52-page case-bound book with canvas cover finish. Released in 1982, Rio was Duran Duran’s second album. Fueled by their groundbreaking, cinematic music videos, leading man looks, and staggeringly heavy rotation on MTV and radio for the album’s singles, including the title track, “Hungry Like The Wolf,” and “Save A Prayer,” Duran Duran shot to superstardom, topping charts around the world. In the U.S., the double-Platinum album spent 129 weeks on Billboard’s Pop Albums chart. Previously unreleased and long sought-after by fans, Duran Duran’s Live At Hammersmith ’82! concert recording will also be released September 22 in CD/DVD and digital audio packages.
Duran Duran: Rio (Special Limited Edition) (2CD)
Disc 1
Original U.K. album mix U.S. album & EP remixes
1. Rio 10. Rio (U.S. album remix)
2. My Own Way 11. My Own Way (Carnival Remix)
3. Lonely In Your Nightmare (U.S. 12” Carnival EP)
4. Hungry Like The Wolf 12. Lonely In Your Nightmare
5. Hold Back The Rain (U.S. album remix)
6. New Religion 13. Hungry Like The Wolf (U.S. album remix)
7. Last Chance On The Stairway 14. Hold Back The Rain (U.S. album remix)
8. Save A Prayer
9. The Chauffeur

Disc 2
Manchester Square demos (recorded August 28, 1981)
1. Last Chance On The Stairway
2. My Own Way
3. New Religion
4. Like An Angel
Non-album U.K. singles & B-sides
5. My Own Way (original 7” version - U.K. single A-side, released Nov. 1981)
6. Like An Angel (U.K. single B-side, released Nov. 1981)
7. Careless Memories (live - U.K. single B-side, released May 1982)8. The Chauffeur (Sing Blue Silver) (U.K. single B-side, released Nov. 1982)
Alternate versions & re-mixes
9. My Own Way (Night Version) (U.K. 12" single A-side, released Nov. 1981)
10. Hungry Like The Wolf (Night Version) (U.K. 12" single A-side, released May 1982)
11. Rio (Night Version) (Dutch 12" Carnival EP, released Sept. 1982)
12. New Religion (Carnival Remix) (Japanese 12" Carnival EP, released Sept. 1982)
13. Hold Back The Rain (Carnival Remix) (U.S. 12" Carnival EP, released Sept. 1982)


Live At Hammersmith ’82! has long been sought-after by Duran Duran fans. Previously unreleased, the 1982 concert was filmed and recorded at London’s Hammersmith Odeon as Duran-mania was sweeping the world. The performance features signature hits including “Rio,” “Hungry Like The Wolf,” “Girls On Film,” and “Save A Prayer,” as well as the fan favorite “Make Me Smile (Come Up and See Me),” among others. The set’s DVD includes the full concert, as well as music videos for tracks from the Rio album and two previously unreleased ‘”Top of the Pops” TV performances from 1982.
Duran Duran: Live At Hammersmith ’82! (CD/DVD)

CD
1. Rio
2. Hungry Like The Wolf
3. Night Boat
4. New Religion
5. Save A Prayer
6. Planet Earth
7. Friends Of Mine
8. Careless Memories
9. Make Me Smile (Come Up And See Me)
10. Girls On Film
DVD
1. Rio DVD Extras:
2. Hungry Like The Wolf Rio music videos
3. Night Boat My Own Way
4. New Religion Hungry Like The Wolf
5. Save A Prayer Save A Prayer
6. Planet Earth Lonely In Your Nightmare
7. Friends Of Mine Rio
8. Careless Memories The Chauffeur
9. Make Me Smile “Top Of The Pops” UK TV performances
(Come Up And See Me) Hungry Like The Wolf (May 13, 1982)
10. Girls On Film Rio (Nov. 18, 1982)

In a career spanning 30 years, Duran Duran has sold more than 100 million records around the world and has achieved 21 Billboard Hot 100 charting singles in the U.S.

Wednesday, August 5, 2009

GIRL IN A COMA-The Videos




OK, so I love GIRL IN A COMA's new album TRIO B.C. It is most definitely going to finish in my Top Ten of 2009 list (it's hovering in the Top 3 now). This album just keeps getting better with each repeated spin on my CD player and iPod!
So, I'm happy to be able to share two new videos from the girls so YOU can get an idea of what they are all about (that is, if you haven't fallen under their spell already!).
I must admit that I would have preferred more shots of the band miming to "Static Mind" than what ended up in the video, but I won't complain! On the other hand, the video for "El Monte" matches the mood of the song... and it features plenty of screen time from Nina so I most certainly will NOT complain about that, either!
So, enjoy two slabs of wonderful audio visuals from Girl In A Coma:












Still in a coma,
Stephen SPAZ Schnee

Tuesday, August 4, 2009

SPAZ's LABEL PROFILE: Now Sounds

What could possibly be better than being ultra-hip in the modern world? I'm not talking about THINKING that you are ultra-hip... I'm talking about BEING ultra-hip without really trying. Well, the NOW SOUNDS label (distributed by Cherry Red in the UK) is ultra-hip in more ways than one!
First and foremost, the man behind the label, Steve Stanley, loves what he does and it shows. There is a passion in every release, from the packaging to the music. Each Now Sounds title has it's own aura that makes it stand out in a crowded CD store.
Secondly, Now Sounds is NOT a label that concentrates on fresh new music that will only be stale by the weekend: Now Sounds reissues classic Pop albums from the '60s and thereabouts. These albums may not have scaled the charts when initially released, but like a good Twinkie, they will still be standing long after a nuclear meltdown has wiped Grunge and Emo from the face of the earth. And trust me, in a dark and barren post-apocalyptic world, you will want to listen to the joyful sounds of The Peppermint Trolley Company over the whining and complaining of Nirvana or Linkin Park any day!
Yes, Now Sounds is retro, but retro is the now sound!
So, with that being said, I was able to track Steve Stanley down and ask him a few questions about his fine label....

SPAZ: Before starting the label, were you an avid music collector? If so, what types of music were you collecting (genres, bands, formats, etc)?
STEVE STANLEY: Absolutely. I was collecting a lot of the stuff that I ended up reissuing over the past several years on Now Sounds and (earlier) on Rev-Ola. A lot of obscure ‘60s psychedelic pop, that—in the ‘90s—had virtually no collectability outside of a few Japanese fanatics. One of the first bands I discovered at a swap meet was Colours. They were five guys wearing what looked like clerical outfits with love beads. They had a song called “Brother Lou’s Love Colony.” This had to be good, I thought. 15 years later, the album saw its CD debut on Now Sounds and is a popular title for us.

SPAZ: What inspired you to start up a label?
SS: I was inspired in the late ‘90s to start my own label while working for Bob Keane of Del-Fi Records. Back then, there were very few obscure American psychedelic pop albums available on CD beyond the obvious, more commercially viable titles. So, at that time, there really was a major void that needed to be filed. And remember, you couldn’t find the music online. You actually had to know someone with good taste to hear the music you were searching for.

SPAZ: How did you go about picking the name of the label?
SS: The name of the label is akin to my design firm (Now Designs), my band (Now People), and, of course, my LuxuriaMusic.com radio show (The Now Sounds).

SPAZ: When did the label first start operations?
SS: After having single-handedly A&R-ed, produced, annotated, and designed over 50 releases for Rev-Ola—including many of their best-selling titles—by artists such as Mark Eric, Claudine Longet, Bergen White (For Women Only made both MOJO and UNCUT’s Top 20 Reissues of 2004), and The Merry-Go-Round, I launched Now Sounds in late 2007. The first release (The Parade’s Sunshine Girl: The Complete Recordings) followed in March of 2008.

SPAZ: When you first set up the label, what were your initial goals? And do you feel you’ve achieved those goals so far?
SS: The goal from the beginning was to reissue special albums that for whatever reason had never before been given special treatment; to expose—and enhance—albums that, for whatever reason, have been forgotten by time but in retrospect stand the test of time. We try to uphold the endangered concept of pride of ownership. We produce 16-24 pages booklets for every release. We work hard to locate unpublished photos and other related ephemera... We include exclusive interviews with key participants. We source master tapes whenever possible, and however difficult. A lot of other reissue labels just use Google Image Search, check Wikipedia for their notes, run a disc dub and call it a day. That just isn’t good enough for Now Sounds.

SPAZ: How do you go about picking the titles that you release?
SS: It’s a varied process. In addition to my own knowledge, I draw upon suggestions from our customers and friends. Regardless, at the end of the day the music always comes first.

SPAZ: Is there an elusive album out there that you have been eager to reissue but haven’t been able to get the rights to?
SS: There have been quite a few. The most frustrating thing that happens frequently is when a major denies a request because of a pending project they themselves have underway. And when the final product arrives on the marketplace, it oftentimes is a shoddy release with no imaginative packaging, and few, if any, bonus cuts. (Read: the recent Hip-O-Select Emitt Rhodes box.)

SPAZ: Is there a particular artist (or artists) out there that you would love to have on your roster?
SS: Emitt Rhodes. Dave Clark 5. Any poor soul that recorded for Cameo Parkway.

SPAZ: If you had a choice, would you prefer to reissue an album as it was originally released or do you like the opportunity of adding bonus tracks?
SS: I always prefer to find bonus tracks to enhance the release and provide the consumer with a greater value. Unfortunately, the majors can make this very difficult.

SPAZ: Which format do you personally prefer?
SS: The compact disc for compatibility. The vinyl for packaging.

SPAZ: As a collector and music lover, how do you view the current music scene?
SS: I don’t really give it much thought. A recent trip to Australia afforded me the opportunity to hear the Sydney-based Sparkadia, who are pretty decent.

SPAZ: How do you view the idea of a future filled with download-only releases? Don’t you feel that collectors will always want to physically own the music that they purchase?
SS: I refuse to drink the Kool-Aid. No one wants to look under the Christmas tree and see a download card. To quote Cherry Red managing director Adam Velasco: “Collectors aren’t going to stop collecting.”

SPAZ: Do you see the resurgence in the popularity of vinyl growing?
SS: I certainly see it sticking around for the foreseeable future. There hasn’t been this much new vinyl available since the ‘80s. It’s my understanding that half of the albums on the Billboard Top Ten are available on vinyl. Amoeba Records (the biggest record store in Los Angeles) recently moved all of their enormous vinyl inventory to the very front of the store. That’s a sure sign that it’s a growing and vital commodity.

SPAZ: At the end of the day, do you have a particular personal favorite amongst your own label releases?
SS: The release for which I’m the most proud would have to be Sunshine Girl: The Complete Recordings by The Parade. Not only because it’s our best selling title, but because we were able to include a lot of excellent bonus material that had never before been heard by anyone outside of the band. With a lot of releases, the bonus tracks are usually expendable and tacked on as a sales gimmick. With The Parade CD, the bonus tracks actually enhanced the release.

SPAZ: What would you like people to know about the label?
SS: I like to think we bring an uncompromising commitment to excellence, with a strong track record to prove it. I like to create releases I, myself, would be willing to buy. Based in Los Angeles, we’re able to access exclusive repertoire from one of the most historically vital areas for 60s pop. We’ve also got a built-in promotional vehicle with my LuxuriaMusic.com radio show, The Now Sounds. It’s on every Friday Morning, 5:00 – 7:00 AM, GMT. We have podcasts too.

SPAZ: How can our readers contact the label with suggestions, comments and praise?
SS: I love hearing ideas from collectors and music fans. Please visit our website at www.nowsounds.co.uk.
So, there you have it. Another great label offering plenty of great music. Check out some of the artists already released by Now Sounds!
The more I connect with these folks behind the labels, the more I want to fulfill my dream of starting up my own '80s reissue label. The more I look at my bank account, the more that dream slips away!
Curses! Foiled again!
Stephen SPAZ Schnee

Monday, July 27, 2009

THE HEADPHONE TRAVELER: Collectors' Choice Music


Hey, gang! SPAZ here!
On this edition of THE HEADPHONE TRAVELER, I'm going to give you a rundown on some of Collectors' Choice Music's latest reissues....

Now, I may have my preferences when it comes right down to my favorite types of music, but my insatiable appetite to hear as much music as possible has allowed me to expand my views and even change my opinions on certain styles of music...

With this batch of Collectors' Choice reissues, I was able to revisit some old musical acquaintances from my past and visit some folks that I missed first time around....

NED DOHENY's self-titled album from 1973 is like visiting an old friend from your grade school days: you may not remember him, but once his music washes over you, it begins to take you back to a time long-forgotten but fondly remembered! Like fellow songwriter Jackson Browne, Ned was one of the first acts to sign with David Geffen's Asylum Records. He shares Browne's knack for writing intelligent songs that may seem lightweight on the surface, but allow yourself to dig deeper and the tracks will drag you down into a deeper, more meaningful place. There are hints of The Eagles, CSN, The Doobies and Steely Dan floating around in the mix, but Doheny stops short of sounding like anyone else and ends up sounding much more confident in remaining himself....



Former Byrds drummer GENE PARSONS may have been a very talented musician, but, to be honest, there were not many people expecting much when he released his Kindling album in 1973. The truth of the matter is that many folks didn't even get a chance to hear this full length platter, as it got lost amongst the glut of that year's releases (teen pop, Glam Rock and whatever else was flavor of the month). Over three decades later, this reissue is hopefully going to help give Gene the credit he deserves. Kindling is an authentic slice of Country Rock that features stabs at Bluegrass and everything that lies in between the two genres. This isn't the sound of a musician going through the motions: this is honest and real with emotions that range from joyful to melancholic. It's enough to make you wonder why you never heard it before. Kindling goes a long way in proving that Ringo wasn't the only drummer releasing worthwhile solo albums in the '70s. Maybe I should go give those Cozy Powell albums another listen...


For many Rock fans, Disco was the epitome of overindulgence, both on record and behind the scenes. In fact, most Rock fans enjoyed Disco as much as they enjoyed having their fingers chewed off by rabid rats. Well, I'm glad to say that I LOVE Rock and I LOVE Disco. I think most musical genres has something valid and noteworthy to offer, whether I like it personally or not. (Well, except Emo. But that is another subject altogether.) When Peter Brown released "Do You Want To Get Funky With Me?" during the Disco craze, he became a one-man sensation, shifting a million copies of the single alone! While the clubs loved what he was doing, he barely registered on the popular radar. It wasn't until the '80s when his song "Material Girl" was recorded by some chick named Madonna did he cross over into the Pop charts. Stargazer, released in 1979, came out between those two milestones, but stands up on it's own as a Pop album with an incessent Disco beat. Brown isn't trying to sound 'black' on Stargazer, he's just blending his Chicago Pop roots together with his love and understanding of late '70s Dance music. In fact, if Billy Joel had decided to make a Disco record instead of a New Wave album when he released Glass Houses, it may have sounded like Stargazer. Fancy tunes, swelling strings and a good beat: that's what Peter Brown's Stargazer is all about...



Everyone loves to laugh and Bill Dana's My Name... Jose Jimenez will make you laugh, even though you'll also feel a little uncomfortable. As funny as his character was (and is), Bill Dana would never be able to bring Jose Jimenez to life in today's overly politically-correct world, which is a real shame. This album features Dana portraying his Jimenez character in sketches lifted directly from the Steve Allen Show and it remains extremely funny throughout. Each sketch features the same types of jokes and set-ups, but is always a hoot. Old fashioned, clean comedy will never go out of style. Here is an actually sketch featured on the album...



That's it for today, folks! Stay tuned for some more groovy blog posts... and even more from The Headphone Traveler... coming soon!

Thursday, July 23, 2009

SPAZ's LABEL PROFILE: el Records


Welcome to the first in a series of blogs where I turn the spotlight away from the artists and the releases and focus on the indie labels responsible for their existence.
Today's label is: el (distributed by Cherry Red in the UK)
According to their website, “el is one of only a handful of genuinely original and important record labels in the history of popular music” and I do wholeheartedly agree. There have not been many labels that have a ‘style’ that is instantly identifiable and yet each and every release is different from what came before and what came after. To classify the label is like trying to sum up your life experiences in three words or less: it can’t be done!
Over two decades after Mike Alway started el, they remain everything that a label should be: unpredictable, unafraid and unashamed by anything on their roster.

Here’s what others have had to say about the label:

"el records is a world where The Avengers' John Steed forever seems to be creative controller and Emma Peel works the A&R department."-Record Mirror
"The melodies, the phrasing, the enthusiasm and ambition are all here plus a mysterious sexuality, a tropic of Ruislip classy vulgarity."-Andy Darling, Melody Maker, 1988
"Alway is a man out of time-part Kim Fowley, part Kim Philby and el is his unashamed indulgence."-Bruce Dessau, NME, March 1988
"Alway is that rare breed - a man who knows a record should always look good."-Jane Solanas , NME, November 26 1988

Luckily, I was able to catch up with el’s Mike Alway and dig a little deeper into the label’s psyche…

SPAZ: Before starting el, were you an avid music collector? If so, what types of music were you collecting?
MIKE ALWAY: Music captured my imagination in childhood. The first record I purchased was “She's Not There” by The Zombies in 1964. Its light jazziness rubbed off on me; an underlying style that stayed with me for decades. I was always inquisitive about music (without actually being a record collector) and suddenly found myself as the boy in school with the hip, alternative albums.

SPAZ: What inspired you to start up el? Was there a label you admired? Or perhaps a music genre that you felt was not well-represented on the market? MA: Verve was the label I most admired. I was impressed by the eclecticism of their mid-‘60s roster. There seemed to be a little of everything, all of it daring. The Mothers of Invention, Astrud Gilberto, The Velvet Underground, Gary McFarland and Ella Fitzgerald, all under one roof, struck me as remarkable and I sought to emulate that expansiveness in my own work.

SPAZ: How did you go about picking the name of the label?
MA: I wanted a word that was completely neutral. a word that meant nothing. A word that suggested possibility and that might look good as a graphic. Perhaps a word rather like dada? So, inspired by Luis Bunuel’s film about a Spanish aristocrat driven mad by jealousy, I decided on el.

SPAZ: When did the label first start operations?
MA: 1985, whilst still within the bosom of Blanco Y Negro. Within a year, el became owned by Cherry Red and remains that way today.

SPAZ: When you first set up the label, what were your initial goals? And do you feel you've achieved those goals so far?
MA: By the mid-‘80s, I was convinced that traditional rock music had run its course and had nothing more to say. So I determined to create a new vernacular and a completely original look and to project it through el. The emphasis of the songwriting was on Mediterranean culture, food and drink and forms of escapism through art and travel. I was heavily influenced by the Technicolor fantasies of Powell and Pressburger and the patrician and sometimes absurd comic humour of Terry-Thomas, Richard Briers and Leonard Rossiter (the latter specifically in the role of Reginald Perrin).
As for the look, we borrowed from the photographer Angus McBean, the cinematography of Jack Cardiff and the designers, Charles and Ray Eames.
I approached music as a director might film and, yes, we were successful in creating records that at very least could not possibly have existed on any other label. Choirboys Gas by Bad Dream Fancy Dress and The Camera Loves Me by The Would be Goods are two of titles of which I am most proud. They are quintessential el.

SPAZ: How do you go about picking the titles that you release?
MA: I would dream up a song title (say, "Cecil Beaton's Scrapbook"), offer a framework for a scenario and a suggest musical context (maybe a pastiche of Hermans Hermits with a touch of flamenco guitar or the Doors plus schoolgirls) and the writer would bring it to life.

SPAZ: Is there an elusive album out there that you have been eager to reissue but haven't been able to get the rights to?
MA: I’d love to properly restore, in all its glory, Dudley Moore’s brilliant score for the film Bedazzled. It simply IS the ‘60s.

SPAZ: Is there a particular artist (or artists) out there that you would love to have on your roster?
MA: Scott Walker, Robyn Hitchcock, Van Dyke Parks.... Keith Floyd (spoken word recipes with one song at the beginning of the album and one at the end)

SPAZ: If you had a choice, would you prefer to reissue an album as it was originally released or do you like the opportunity of adding bonus tracks?
MA: So long as the centerpiece of the restoration isn't obscured, I like to be as expansive as possible. Most el editions are of generous length. It's not merely the offering of value for money but the wish to bask in and celebrate the art of the subject

SPAZ: Which format do you personally prefer? (CD/Vinyl/Cassette/MP3)
MA: Much of el's reputation is based on the attractiveness of it's vinyl presentations.but CDs can also be beautifully realized.

SPAZ: As a collector and music lover, how do you view the current music scene?
MA: Today, the industry needs individualism more than ever. There should be more emphasis on creativity (of joy in arts and culture) and less on "attitude" and "celebrity".

SPAZ: How do you view the idea of a future filled with download-only releases? Don't you feel that collectors will always want to physically own the music that they purchase?
MA: There will always be a market for a superior three dimensional product so the design aspect of what we do is going to become ever more important.

SPAZ: Do you see the resurgence in the popularity of vinyl growing?
MA: As a nice artifact to have around the house. why not?

SPAZ: At the end of the day, do you have a particular personal favorite amongst your own label releases?
MA: Of the records el has re-issued, the 2008 anthology, Sketch for Summer by Gary McFarland and Gabor Szabo embodies much of what matters to me and is certainly up there amongst my favorites. Of the records we have created, the Bad Dream Fancy Dress album. It's intelligent and full of humour. It's like nothing else on earth.

SPAZ: What would you like people to know about the label?
MA: That an el record is primarily a sensual experience.

SPAZ: How can our readers contact the label with suggestions, comments and praise?
MA: Via el's parent company Cherry Red: infonet@cherryred.co.uk . I reply to all communications personally.

Other recommended el releases:

Too Good To Be True: The Very Best Of el Records
And here are just some of the great artists you can find on the label:
And more! Click here for the complete el discography

Your roving reporter,
Stephen SPAZ Schnee

Saturday, July 11, 2009

MENTAL AS ANYTHING/Tents Up Review


Three decades after they released their debut album, MENTAL AS ANYTHING are still around, thank goodness. Even the most mundane Mentals track is better than half the stuff out there... not that there are many mundane Mentals tracks to begin with!


Just out is their BRAND NEW album, Tents Up, and here's what I had to say about it on All Music Guide!


" On August 16th, 1977, Elvis Presley died. On that same day, in Australia, Mental As Anything played their first gig. So, here it is, 32 years later and the Mentals are still touring and releasing new music, but things have changed. At the beginning of the millennium, bassist Peter O’Doherty and guitarist Reg Mombassa left the band, the first Mentals line-up change in over two decades.
Following 2001’s uneven Beetroot Stains album, drummer Dave Twohill was ousted from the band and vocalist/guitarist Martin Plaza and keyboardist/vocalist Greedy Smith remained the Mentals’ only original members. Their next release, Roadcase in 2002, suffered the same unfocused fate as the previous year’s album.
The band began to slowly recover by issuing Plucked in 2005, an album of acoustic renditions of their past hits, and they continued to tour. Now, seven years after their last real studio album, the band returns with Tents Up, an album that may not return them to their glory days (’81-’85), but is certainly their best album since 1995’s Liar Liar Pants On Fire.
Martin and Greedy remain masters of the pop song, able to knock out wonderful melodies and make it sound so damn easy. While there doesn’t seem to be a bonafide modern Top 40 chart hit on the album, that’s only because the band are sticking to their guns and recording a Mental As Anything album and, for the first time in a decade, aren’t trying to mess with the formula. “Moaning Lisa”, “Covered In Women”, “Lazy”, “She Could’ve Been Mine”, “Blues Guys” and “Karaoke Hostess” are all worthy additions to the band’s vast catalog.
On the band’s two previous studio albums, ‘new’ recruit David ‘Duck’ Barraclough was allowed to contribute songs and, while he was obviously talented, his style didn’t fit the typical Mentals sound. On Tents Up, his contributions (“I Know You Will” and “Easy”) fit quite nicely into the Mentals mix and are also standouts on the album.
While the band are not as musically playful as they were on albums like Cats & Dogs and Creatures Of Leisure, they make up for it lyrically with plenty of witty moments that hold up over repeated listens (“Loving you is like a rodeo/Bucking hard all the time”). Old mate Reg turns up to play guitar on a few tracks, sounding as great as ever (he’s now in Dog Trumpet with O’Doherty, his brother).
I must admit that, on first listen, the album sounded a bit too safe, but it really opens up after a few spins and takes the listener for a fun ride. Welcome back, Mental As Anything!"
Stephen SPAZ Schnee