Julian Cope presents Head Heritage

This week’s lockdown blues:

The Style Council ‘Modernism: A New Decade’ - despite enjoying the new TV doc last week, I was unconvinced by its attempt to big TSC up, mainly because I’ve always been underwhelmed by the pseudo lounge jazz-meets-soul direction that Paul Weller took immediately after The Jam. In fact, several choice tracks excepted, TSC epitomise to me the general musical dullness of their decade (though to be fair it’s hard to think of many established artists who didn’t suck in the 80s, Julian being a rare exception). If I was cruel I could compare the three stages of Weller’s career with those of Elvis Presley, TSC equating to The King’s film years (and I should point out that I’m a fan of both Elvis in the 70s and Weller’s solo career, especially of late). But, but… all that said, I can’t help but dig TSC’s much maligned, belatedly released foray into house music named above, which for me has preserved a much more upbeat and dynamic side to the band than the slick, bland sound for which they’re remembered. Innit a shame that not a single cut was considered worthy of inclusion on their new compilation;
Can ‘Landed’ - never one of Can’s more lauded efforts, but I’ve always liked it, ’Half Past One’, ‘Hunters and Collectors’ and ’Red Hot Indians’ in particular. There’s some great, unusual production tricks going down which lend the record a unique sound. And doesn’t Karoli rock on ‘Vernal Equinox’?
The Damned ‘Damned Damned Damned’ - although I’m probably be the only dude on earth who prefers ‘Music For Pleasure’, The Damned’s pioneering debut platter still has its moments for me, even if it’s the singles that register hardest. Those and the disgracefully rude ‘Fish’;
Sham 69 ‘Tell Us The Truth’ - basic and naive as it is (George Davis innocent?), Pursey’s first LP has a raw energy and sincerity which I’ve always loved. And Pauline Quirke!
Linton Kwesi Johnson ‘LKJ In Dub’ - there’s not a lot of yer actual LKJ to be heard here but what the hell, it’s a very decent slab of Brit dub anyway;
Audience ‘Lunch’ - fourth and final album proper by an eternally underrated early 70s band. Howard Werth is one of several great vocalists of the period who sound like no-one else before, during or since;
Jethro Tull ‘Rock Island’ - I really try to enjoy late period Tull but there’s a formulaic, soulless chill in Ian Anderson’s writing that simply isn’t there on the classic early albums. Martin Barre’s heavy metal posturing doesn’t help either. No, I fear that life’s getting far too short to try any more. I’ll henceforth stick with Tull’s late 60s & 70s output;
Elton John ‘The Diving Board’ - with his media hogging celebrity status it’s easy to forget that Elton still makes great records, such as this laid back 2013 release which features his tune writing, pianism and - especially - vocal skills at their best. I hope that it’s not just those great LPs he put out in his halcyon years that come to define him, as he’s been remarkably consistent throughout his long career, a few 80s clunkers excepted;
Elton John ‘Wonderful Crazy Night’ - don’t let the dire packaging put you off, for Elt’s latest album from 2016 is a lot of fun. Sure, it ain’t ‘Madman Across The Water’, but it’s still a damn sight more listenable than anything you could reasonably expect from a 70-odd year old multi-millionaire;
Elton John ‘Caribou’ - having enjoyed his last two original albums, I felt a perverse desire to check one of Reg’s less acclaimed records of the past. And you know what, ‘Caribou’ (despite a cover almost as crap as the last named) isn’t as bad as it’s reputed to be. To start with, any album that starts with a song as good as ‘The Bitch Is Back’ can’t be all bad, and ‘Grimsby’ must be (can only be?) the finest song ever written about that town (and I speak as a proud Mariners supporter - well, as my second team anyway). ‘I’ve Seen The Saucers’ is a belter too, as is ‘Ticking’, and even ‘Don’t Let The Sun Go Down On Me’ deserves its popular status in this, its original and definitive version. Of course, there is some kack here (e.g. ‘Dixie Lily’, and the epitome of abysmiality that is ’Solar Prestige a Gammon’) but Elton was to inflict far worse albums on his public in the 80s;
The Monkees ‘Head’ - a strange and wonderful soundtrack to a weird and well, interesting, movie. Songs are only part of the soup but, my, what a recipe. Of its time and out of its... head. I love this;
Man ‘Live At The Padgett Rooms, Penarth’ - my personal favourite of the plethora of official Manband live albums covers a universe of sound over just three long tracks. They never lived up to their Welsh Grateful Dead reputation more than here;
Lew Lewis ‘Boogie On The Street’/‘Caravan Man’ 45 - not only the greatest 7” Stiff ever released (and boy, does it have some competition there) but also one of the greatest slices of British rhythm & blues ever released in my humble opinion. Fabulous Sun-like reverb on the harp and vocals adds to the thrill. Features a contractually miscredited Dr Feelgood (sans Wilko) as backing band.

Part 2 to follow...

The gem of Caribou for me is Pinky, one of their most sublime creations.

"Michigan space rock"

Intrigued. Any advance on the description?