Thursday, 15 December 2016

Gem Or Ashtray? (C)

Chi-Lites: Homely Girl. Terrible. B-side? Not bad. I'm wavering. Nah. If you like it, it'll be in the MIND shop on Flowergate next week.

Chi-Lites: You don't have to go. Much better. Gem.

The Cigarettes: They’re Back Again, Here They Come. Skinny tie early 80s mod-punk, somewhere between the Buzzcocks and Eddie and the Hot Rods. Major chords, choppily played; vocals like a fast, squeaky Bob Dylan. Almost all indie pop used to sound like this. Framing the song inside a short piano tune was a nice touch. The cover is a mod pastiche. Looks classy. I wouldn’t buy it these days, but I’m keeping it.

The Cigarettes: Can’t Sleep At Night. Mod sensibilities gone, replaced by post-punk paranoia. Shadow of the bomb and all that. Same label as B-Movie, and with much the same sound. Another non-buyer/keeper.

Patsy Cline: A Stranger In My Arms. Classic and all that. Rinky-dink blues, beautifully sung. The voice is drowned in musical treacle though, particularly the Jordinaires style backing vocals. Don’t know how often I’m going to play this. Might have to go to the MIND shop - which I think is where I bought it. B-sides are saving it though - a small band and no backing vocals. Version of Lovesick Blues is great. I’m sold. Gem.

Coldcut: Stop This Crazy Thing. That thing with swing band riffs over an electro track; Coldcut were doing it decades ago. Corny big beat (Tarzan samples, anyone?) and a Junior Reid vocal that doesn’t say a lot, but I’m keeping it. B-side version without the vocals better still.

The Commodores: Brick House. I got some Commodores singles in a job lot. ‘Easy’ and ‘Zoom’ aren’t going anywhere, but I have no memory of ‘Brick House’. Not surprising because it’s dull. B-side is a Lionel ballad, Sweet Love. Trundles along for ages, then a huge key change, then he starts preaching. I bet he leaves the piano and starts working the audience. Not working on me, I’m afraid. Ashtray.

The Commodores: Flying High. Sounds like an advert for Laker Airways. A bit of a quote from ‘Shaft’, then back to jingle mode. I know it’s incredibly hard to make music as smooth as this, so I feel bad when I say… ashtray.

Nicola Conte: Arabesque. Soundtrack pastiche. 60s Brazilian vibe via Italy 1999. Sax riff and vibraphone. Slow burner with fast drums. Tense. Gem.

Joseph Cotton: Musicians. Plinky-plonky electro dancehall. Growling MC prattles on about black race, white race, Japanese race etc. Probably dodgy as hell but I’m not taking notice and I like it. B-side is a voicing by Don Camilo - breathless and scared, Might be a gem, definitely a keeper. Not on YouTube.

Cowboy Junkies: A Horse In The Country. Total gem. Medium paced, understated, stoical and heartbreaking. I’ll be playing this over and over again.

The Cravats: Rub Me Out. A fearsome artefact of the Thatcher era. On Crass Records. Stencils, Letraset, blurred photos, screeching paranoia, self-loathing with muffled everything except for oddly tuneful sax. A keeper, mostly for historical reasons (“Was the world as bonkers as it is now when you were a boy, daddy?” “Nearly, darling. Listen to this.”)

The Crimea: Lottery Winners On Acid. Too long and drenched in echo, but a soppy love song. B-side tries too hard to be nasty. Not sure, so I’ll keep it for now. If it’s not getting played in a few months’ time, it’s going.

No comments:

Post a Comment