I’m sick of love…
Pretenders ‘Relentless’ - early exposure to this reveals a strong set of songs enlivened by some particularly gritty guitar playing. Reminded me to dig out:
Pretenders S/T - it’s remarkable how fresh this 44 year old debut still sounds. Bloody hell, I was in sixth form when I bought this, and I’m well retired now;
Ian Hunter ‘All American Alien Boy’ - the original Englishman in New York, rocking with a great jazz bass player and some soulful chick backing singers;
Japan ‘Adolescent Sex’ - which isn’t that bad an album if you can forget the sublimities of Japan’s later work. I like its poppy funkiness for its own sake, and can’t help but think that Duran Duran filched its vibe to much more lucrative ends three years later;
Bob Dylan ‘Time Out Of Mind’ (2022 remix) - a rare instance of a modern remix actually improving on the original, though either version of what remains Dylan’s last truly great record is alright with me;
Wigwam ‘Nuclear Nightclub’ - which sounds like a cool Finnish take on Steely Dan, enlivened by Hull’s own Jim Pembroke’s Fagenesque vocals. But it’s Pekka Rechardt’s awesome instrumental ‘Pig Storm’ that steals the show for me;
Rick Danko S/T - long forgotten solo album by The Band’s former bass player, which satisfies this listener more than most of their 70s output;
Marshall Tucker Band ‘Tuckerized’ - the poppier side of these good ol’ boys: not their best era but Doug Gray’s chops make it worthy of a spin;
Joy Division ‘An Ideal For Living’ EP - prior to Martin Hannett’s inspired tinkering, Joy Division already demonstrated their distinctive songwriting edge, enlivened by their Manc punk influences. A primitive and wonderful twelve minutes;
Kiss ‘Ikons’ (Peter Criss disc) - y’know, I reckon Peter Criss was the best singer Kiss ever had. There’s something about his stressed, guttural larynx that suited their dumb rock vibe just right. I mean, ‘Hooligan’: who could’ve delivered that better?
OM ‘It’s About Time’ - long awaited 2020 comeback album from Switzerland’s (much further out) answer to Weather Report. Not an easy listen, but mighty rewarding with repeated plays. Christy Doran really freaks out on ‘Perpetual-Motion Food’. Fredy Studer RIP;
Elton Dean ‘Just Us’ - the original Elton’s first solo outing is unsurprisingly akin to Soft Machine, given guest appearances by several of his bandmates here. But there’s a more echt jazz feel, with Marc Charig’s brass adding a distinctly Miles-like feel to the proceedings;
John Coltrane ‘Kulu Se Mama’ - especially the awesome battle between drums and tenor sax that is ‘Vigil’. Wow;
Gary Peacock ‘Tales Of Another’ - the first ECM LP I ever bought, and still one of my favourites: six dreamy, subtly swinging, minor keyed vignettes (including one so-named) with Keith Jarrett in great form in one of his last sideman roles. This was the first appearance of what became Jarrett’s Standards Trio, but here they’re entirely devoted to Peacock’s inspired compositions. Truly unsung, even by ECM standards: stream ‘Major Major’ to hear what I mean;
Debussy: Violin Sonata (Efi Christodoulu & Margaret Fingerhut) - Debussy’s last work displays an uncharacteristically playful character, beautifully captured in this reading;
Mehul: Symphony no.1 (Akademie fur Alte Musik Berlin/Bernard Forck) - a kind of Beethoven’s Fifth a few years before its time, though not quite at that level of inspiration. Good though;
Beethoven: Symphony no.8 (Swiss Fest Orch/Herbert von Karajan) - newly issued 1952 live recording, in excellent sound, of Beethoven’s “little one”. This has an edge over Karajan’s studio recordings, being more incisive and unafraid to take liberties with tempi, the trio of the third movement for example;
Mozart: Symphonies 40 & 41 ‘Jupiter’ (ASMF/Sir Neville Marriner) - Marriner’s lean meat approach to Mozart is taken for granted in these more historically informed times, but these are recordings to return to again and again;
Beethoven: Symphony no.5 (LAPO/Carlo Maria Giulini) - being of the opinion that Beethoven’s Fifth is the most sublime of all musical creations, I’m often asked which is my favourite recording. After amassing over two hundred of the mothers (yeah, really) I’ve got to go for this one, released by DG in 1982. It has all the power, emotion and monumentality the work demands, all repeats intact, and a great recorded sound. Learned critics rave about Carlos Kleiber’s 1974 account - also for DG - but it hasn’t got the impact of Giulini for me. But what do I know?
… I’m so sick of it.
Have a great week, all
Dave x
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