Elton John ‘Rock of the Westies’ - Reg’s rockiest album is a continental shift from ‘Captain Fantastic’ released only six months previously and, in its very different way, just as satisfying. The man’s work rate in the early-mid 70s was stupendous, with very few clunkers;
Arctic Monkeys ‘Whatever People Say I Am, That’s What I’m Not’ - this just seems to sound better and better every year. If there’s been a more assured, enjoyable and consistent debut album in the last twenty years, I’d love to hear it;
Aerosmith S/T - even though (like the first three Kiss LPs) it’s woefully under-produced, Aerosmith’s debut - and the two albums after it - always put a smile on my haggered face. I’ve far time for this era of the band than their sound-like-a-million-others metal of the 80s and beyond. There’s a directness and simplicity in their early material that is more distinctive and appealing than the cliched bore-rock that followed;
Genesis ‘Wind & Wuthering’ - always a bit of an also-ran in their (mostly ace) 70s output, after 43 years I’m finally getting into this, especially Steve Hackett’s valedictory work on the second side. In fact, despite the occasional brilliance of ‘And Then There Were Three’ (if precious little thereafter) I’m inclined to consider the guitarist’s departure as even more calamitous than that of Peter Gabriel two years earlier. Discuss;
Can ‘The Singles’ - a slightly redundant set to those of us with all of the albums, but it’s good to hear some of the tracks in their single edits as well as noting how downright catchy their simpler material could be. In an ideal world, ‘Moonshake’ would be an eternal dance floor filler;
Ultravox! ‘Ha! Ha! Ha!’ - one of the most unsung albums of 1977, seamlessly blending dystopian fantasy with great tunes and raw punk energy. I have very fond memories of seeing the band delivering this classic record at the Newcastle Mayfair one Friday night in January 1978 whilst ducking beer glasses thrown by disgruntled metalheads from the balcony. I say ducking, but one glass hit John Foxx square on the bonce. To his credit, he just carried on, unlike his wimpier successor (then fronting the Rich Kids) who stormed off the same stage a few weeks later;
Boz Scaggs ‘Middle Man’ - shares the same slick, blue-eyed soul feel of ’Silk Degrees’ but with better songs, I think. Features the members of Toto, but don’t let that put you off;
Heart ‘Little Queen’ - before their descent into big-hair 80s blandness (c.f. Aerosmith), Heart were a damn fine rock band with a distinctly Zep-like vibe, including their acoustic side. This is their finest hour, methinks. Includes the classic ‘Barracuda’;
UFO ‘Phenomenon’ - played this last week too, but it’s too good to just put away and forget for another couple of years. To be honest, I could quite easily go through life without hearing ‘Doctor Doctor’ or ‘Rock Bottom’ again, but the rest of this breakthrough album is every bit as good as those overplayed songs IMHO;
Various ‘Dance Craze’ - great fun live 2-Tone comp from 1981;
Dave Brubeck Quartet ’Newport 1958’ and ‘Jackpot’ - two live albums from the classic lineup (Joe Benjamin on ’Newport’ excepted), the latter being one of their final appearances in 1966. Surprisingly, it’s the earlier set which sounds best, both sonically and musically, not that ‘Jackpot’ is rarely less than good. Flat sound and an out-of-tune piano don’t help though;
Ravel: La valse (LAPO/Zubin Mehta) - this 1960s Decca recording is one of the most vibrant and thrilling things I’ve ever heard in any genre. To be fair, it’s such an exciting work that I’ve never heard a disappointing version, but in this instance the then young Mehta and his Los Angeles forces conjure up a truly irresistible whirlpool of chaotic wonderment, particularly at the work’s manic climax, stunningly captured by the Decca engineers. This really is the shit, and I’d recommend it to anyone, even classical naysayers;
Beethoven: Fidelio Overture, Berlioz: Symphonie fantastique and Tchaikovsky: Francesca da Rimini (all Lamoureux/Markevitch) - great readings, especially the Berlioz and Tchaikovsky which, like the aforesaid Ravel piece, have tremendously exciting finales;
Mozart: Flute & Harp Concerto, K 299 (Orch of 18th Century/Brueggen) - delightful music, delightfully rendered: original instruments without acidity;
Cecilia McDowell, Bob Chilcott and Judith Weir: Choral Works (Bristol Choral Soc/Hilary Campbell a.o.) - this excellent new release, titled ‘The Big Picture’ after Weir’s featured piece, is a superbly performed showcase of contemporary British choral music. If that sounds like your dab, I thoroughly recommend it. I enjoyed this immensely;
Francis Jackson: Sacred Choral Works (Exon Songers/Matthew Owens) - at a sprightly 103, Francis Jackson, former York Minster organist and composer of some mightily impressive choral music, is still with us. This is a but a small selection of his fine compositions for choir and (sometimes) organ, immaculately recorded;
Francis Jackson: Great Cathedral Organs - a memorial of the above’s supreme talent as an organist in works by Nares, Wesley, Bossi, Cocker (not Joe or Jarvis) and Willan, played on the vast York Minster organ in the mid-1960s. Rock and roll (not);
Willam Mundy: Vox Patris Caelestis (Tallis Scholars/Phillips) - from the Tallis’ classic first release back in 1980, and still a monument of acappella artistry;
Finally, two decent chamber performances that enriched a dull morning in semi-lockdown:
Beethoven: String Trio in D, Op.9 no.2 (Kodaly Quartet)
Bliss: Oboe Quintet (Tale Quartet & Gordon Hunt)
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