David Bowie – Loving The Alien

14 10 2018

Loving The Alien [1983 – 1988] is the 4th David Bowie box-set to be released, and the one covering his most commercially successful period.

Loving The Alien cover

The box-set comprises three remastered original studio albums (Let’s Dance, Tonight and Never Let Me Down), a newly re-imagined Never Let Me Down (2018) with Bowie’s original vocals and new musical performances from long time collaborators, two live albums (Serious Moonlight [Live ’83] and Glass Spider [Montreal ’87] plus two new compilations – Dance (original extended mixes) and Re:Call 4, a double album of single mixes, b-sides and soundtrack songs. As with the previous box-sets, Loving The Alien includes an excellent companion book with rare and unseen photos and essays from Nile Rodgers, Hugh Padgham and more.

Let's Dance (2108 remaster)

Let’s Dance was David Bowie’s 15th studio album and was originally released in April of 1983. Produced by Bowie and Nile Rodgers, the UK / US Platinum selling no 1 album crossed over into the mainstream more than ever before with three massive hit singles, Modern Love, China Girl and the title track.

The sound on the 2018 remaster from Ray Staff and Nile Rodgers is not a massive difference, as the album always sounded amazing anyway. The drums sound slightly fuller and there is more punch to the bass. China Girl and Let’s Dance suffer from less treble than the previous masters, so this version is definitely more sympathetic.

1984’s Tonight album is mastered slightly quieter than the previous version. The Ray Staff / Hugh Padgham 2018 remaster has a much softer snare sound. Tonight was not popular with critics, but sold well, though not on the Let’s Dance scale. Whilst by no means a classic album, it contains one of my favourite Bowie songs, the achingly beautiful Loving The Alien. A song so good they named the box-set after it!

Blue Jean sounds so much better on this remaster, as does one of my favourite Tonight tracks, the mighty Neighborhood Threat and the 80s pop-reggae of Don’t Look Down.

The final original studio album included on the Loving The Alien box-set is Never Let Me Down from 1987. Though Never Let Me Down was a commercial success, it was not well received by a lot of fans. Bowie also apparently disliked the arrangements and production, and it is probably no co-incidence that this was the last (solo) studio album release until Black Tie White Noise in 1993.

I must admit that Never Let Me Down is by far my least played Bowie album. The only two tracks I still play to this day are Day-In Day-Out and Time Will Crawl, so listening to the album in it’s entirety 31 years after release was interesting. The 2018 remaster is the best this album has sounded. Remastered slightly louder, and with more bottom end, Time Will Crawl and Beat Of Your Drum sound better than previous releases. The snare on Never Let Me Down sounds so much fuller and I will play this song more often, but the rest of the album still leaves me pretty cold I’m afraid.

I am happy to report that Never Let Me Down 2018 is a much more enjoyable listen. Mario J. McNulty, who was responsible for the popular Time Will Crawl (MM remix) from the popular Bowie compiled iSelect album, gathered together musicians including Reeves Gabrels, David Torn, Sterling Campbell, Tim Lefebvre, Nico Muhly and Laurie Anderson to re-assemble the album at New York’s Electric Lady Studios in early 2018. Never Let Me Down 2018 is exclusive to this box-set, and is a must-have for Bowie fans.

Never Let Me Down (2018)

The difference is startling. Day-In Day-Out has a much better drum sound, and discordant Berlin-era buzzsaw guitars mixed with Adrian Belew like held notes, with Bowies vocals much higher up in the mix. The at times sparse mix really does justice to the underlying song.

Time Will Crawl builds on the previous MM mix, with a much less compressed master. Beat Of Your Drum feels more like a mid-70s Bowie song in this incarnation. The plucked strings work really well, and its a fine Bowie vocal performance.

Shorn of the 80s production, the title track is the highlight of Never Let Me Down 2018. Zeroes also works much better as a Hunky Dory meets Reality type track.

The newly re-imagined Glass Spider is longer than the original 1987 version, and this seemingly Nine Inch Nails influenced, dirtier electronic re-recording would have not sounded out-of-place on one of Bowies 90s albums. Shining Star (Makin’ My Love) is also more enjoyable. The short appearance from Laurie Anderson fits well into this 2018 recording, with its discomforting background electronics as a counterpart to the smooth Fame like backing.

LTA vinyl

New York’s In Love is a vast improvement, and feels a little like the sound of the second Tin Machine album mixed with The Next Day production. ’87 And Cry is grungier than the original, and has shades of the sound of Lodger at times.

The album closes with a string-heavy Bang Bang. The more restrained, much less frantic arrangement gives the lead vocals (and 70s sounding) backing vocals the room to breathe. I’m so glad this 2018 album exists, and I’m sure it will receive many more plays from me than the original album.

Serious Moonlight (Live '83)The two live albums are not of the quality of the recent Welcome To The Blackout (my favourite Bowie live album), but they are worth having, if just to replace the poor quality bootlegs that have been in circulation for years. The crowd for the Serious Moonlight (Live ’83) album sounds absolutely massive. This is the first full audio release for this concert, that was previously released as a VHS video album, and a shortened digital EP.

Highlights include the segue from Fashion into Let’s Dance, and I love the horns on the 1983 live arrangement of Breaking Glass.

Glass Spider (Live Montreal ’87) draws heavily from Never Let Me Down, so is a less interesting live album for me. The theatrical nature along with the interludes has really dated this live show, and it doesn’t work as well without the visuals. Highlights from this album include Loving The Alien and Sons Of The Silent Age, but overall, this is not an album I will return to often.

The extended version’s disc titled Dance is literally dripping in the sounds and feel of the 80s, so loving that decade will surely influence whether this compilation hits the right notes for you. Make sure you slip into your 80s pastel clothing, and throw on your head-band before listening to Dance for the ultimate experience. Finally having the cream of the 83 onward extended remixes together on one album is a good thing. Shake It (Re-mix aka Long Version), Loving the Alien (Extended Dub Mix) and Time Will Crawl (Dance Crew Mix) are particular highlights.

Re_Call 4Re:Call 4 ties together the majority of the odds and ends from this era, including the 7″ edits of the Let’s Dance singles, and the Absolute Beginners and much-loved Labyrinth Bowie soundtrack pieces.

Less vital are the Never Let Me Down album vinyl edits and some of the poorer b-sides such as Julie, Girls – Extended Edit and the two tracks recorded with Tina Turner (Tonight and the Let’s Dance medley).

The personal highlights of Re:Call 4 are two of my favourite Bowie songs – This Is Not America and Absolute Beginners. Although sound-wise not an improvement on previously released versions, they stand head and shoulders above most tracks on this compilation, which is the most diverse but ultimately the poorest of the four box-sets Re:Call’s released so far.

Loving The Alien is much more of a mixed-bag than the previous David Bowie box-sets, but it has a potentially much larger audience due to the massive commercial success of Let’s Dance. The rehabilitation of Never Let Me Down with the 2018 re-recording makes this collection a must-buy for Bowie fans. I hope my David Bowie Loving The Alien review will help you decide if you want to add this release to your collection.

Loving The Alien cover

Buy Loving The Alien on CD from Amazon

Loving The Alien cover

Buy Loving The Alien on vinyl from Amazon





Kate Bush – Remastered

4 10 2018

Kate Bush will release remastered versions of her entire studio album catalogue on CD and vinyl in November 2018.

I was only thinking the other day that I would love to hear a remastered version of The Dreaming, and here we are. The power of positive thinking. Back to reality – tweets from the Kate Bush twitter account are as rare as hen’s teeth. So when one arrives in your timeline (a tweet, not a hen’s tooth), its normally significant, like announcing the 2014 Before The Dawn tour and now this extensive re-issue campaign. I feel they may have missed a trick with not using #NovemberWillBeMagicAgain, but KB-HQ twitter team, you can have that one for free if you want.

For the casual fan, the CD box-sets are a great way to add some classic albums to your collection. As an avid fan since 1978, I’m looking forward to hearing the new remasters of some of my favourite albums and hearing with new clarity so many songs that are etched into my soul.

The vinyl box-sets are, by their very nature, quite pricey, but being split into four different sets will help you build your collection over time, if vinyl is your format of choice.

From the initial artwork shown on Kate’s website, the CD and vinyl packaging looks beautiful, so I would suggest going for the physical releases, rather than digital, if you possibly can. Hopefully the details below will make it clear what is available, so you can start saving for your purchases!

The albums have been remastered by Kate and James Guthrie (apart from the live Before The Dawn album which retains its recent, original mastering).

So here is the detail, with the Amazon pre-order links.

THE CD BOX-SETS

Kate Bush Remastered Part I

KB remastered 1

  • The Kick Inside
  • Lionheart
  • Never For Ever
  • The Dreaming
  • Hounds of Love
  • The Sensual World
  • The Red Shoes

Amazon pre-order

KB-CD-Packshot-1-Square-3000_01


Kate Bush Remastered Part II

KB remastered 2

  • Aerial
  • Director’s Cut
  • 50 Words for Snow
  • Before the Dawn (Original Mastering)
  • 12″ Mixes
  • The Other Side 1
  • The Other Side 2
  • In Others’ Words

Amazon pre-order

KB-CD-Packshot-2-Square-3000 2


THE VINYL BOX-SETS

Kate Bush Remastered in Vinyl I

  • The Kick Inside
  • Lionheart
  • Never For Ever
  • The Dreaming

Amazon pre-order

KB-Vinyl-Packshot-1-(Flat)_0 1


Kate Bush Remastered in Vinyl II

  • Hounds of Love
  • The Sensual World
  • The Red Shoes

Amazon pre-order

KB-Vinyl-Packshot-2-(Flat) 2


Kate Bush Remastered in Vinyl III

  • Aerial
  • Director’s Cut
  • 50 Words for Snow

Amazon pre-order

KB-Vinyl-Packshot-3-(Flat) 3


Kate Bush Remastered In Vinyl IV

  • 12″ Mixes
  • The Other Side 1
  • The Other Side 2
  • In Others’ Words

Amazon pre-order

KB-Vinyl-Packshot-4-(Flat) 4


The track-listing for the Kate Bush Remastered In Vinyl IV box-set and the last 4 CDs of the second CD box-set consists of:

12” Mixes

Running Up That Hill (A Deal With God)
The Big Sky (Meteorological Mix)
Cloudbusting (The Orgonon Mix)
Hounds Of Love (Alternative Mix)
Experiment IV (Extended Mix)

The Other Side 1

Walk Straight Down The Middle
You Want Alchemy
Be Kind To My Mistakes
Lyra
Under The Ivy
Experiment IV
Ne T’Enfuis Pas
Un Baiser D’Enfant
Burning Bridge
Running Up That Hill (A Deal With God) 2012 Remix

The Other Side 2

Home For Christmas
One Last Look Around The House Before We Go
I’m Still Waiting
Warm And Soothing
Show A Little Devotion
Passing Through Air
Humming
Ran Tan Waltz
December Will Be Magic Again
Wuthering Heights (Remix / New Vocal from The Whole Story)

In Others’ Words

Rocket Man
Sexual Healing
Mná na hÉireann
My Lagan Love
The Man I Love
Brazil (Sam Lowry’s First Dream)
The Handsome Cabin Boy
Lord Of The Reedy River
Candle In The Wind





Blancmange – Wanderlust

19 09 2018

Blancmange release their tenth studio album, Wanderlust, on October 19, 2018. Wanderlust features ten songs composed by Neil Arthur, and arranged, co-produced and mixed with Benge (Wrangler/Creep Show). This is the pair’s third album together following their Fader First Light album in June 2017 and last year’s Blancmange album Unfurnished Rooms.

wanderlust

As with last years Unfurnished Rooms, Wanderlust is a more stark electronic offering than the early Blancmange albums. The major difference with this album is the inclusion of three songs (Distant Storm,In Your Room and Not a Priority) that could easily fit onto a “best of” album, and if released in the mid-80s, would have probably been top 20 singles.

Opening with lead single Distant Storm, the duo lay out their intentions straight away. Pulsing bass synths and expanding percussion layers drive a wistful, vocoder treated vocal from Neil Arthur. A Giorgio Moroder meets Madonna’s Lucky Star keyboard arrangement lifts this song to another level and adds real colour and warmth to the song.

In Your Room dials down the warmth a couple of notches, and is a much darker track. Musically this has a feel of the edgier early Soft Cell tracks, and features a simple yet naggingly addictive chorus. You will not be able to stop yourself singing along.

“In your room, In Your Room, IN YOUR ROOM”

I Smashed Your Phone opens with what sounds like the drum machine intro pattern to Wham’s Everything She Wants and has some interesting percussion programming highlighting key points in the song. The lyric references our often fractious relationship with modern technology, and this theme continues throughout the album.

Gravel Drive Syndrome is another album highlight. The tightly, unnaturally sequenced bleeps underpin a growing feeling of unease mirrored by this tale of social climbing at any cost. Talking to Machines is a John Foxx influenced synthesised slow-burner, warning us that our interactions are often with machines that are “Always on, on always”. Switch off and step away people!

Not a Priority is my favourite track on the album. Easily the most commercial song since the early Blancmange albums, Not a Priority features a sugar-coated joint chorus with one of my favourite current electronic artists, Hannah Peel. The synths bubble away, and along with the ever-present Moroder, I get hints of Kraftwerk and Propaganda on this album highlight.

“Please be yourself, you can’t be anybody else.”

TV Debate is the first track to add guitars to the mix. A Berlin era Bowie / glam-rock backing drives a tale of channel-surfing and wall-to-wall talking heads displayed on the screen. David Rhodes (Peter Gabriel / Kate Bush) adds an engaging guitar wall of sound to another of the albums key tracks, Leaves.  The arrangement rises and falls, mimicking the seasons, as nature meets mankind.

White Circle, Black Hole is a rare chink of light in the lyrical darkness, and has one of Arthur’s best vocal performances on the album, along with a twin guitar propelled chorus.

“Start again, such a good place.”

The album ends on the title track. Disembodied sampled voices, and a heart-beat kick drum introduces a song about living in this moment, in the here and now. Analogue synth lines take the lead instead of a traditional vocal chorus, as Wanderlust draws to a close on an optimistic note.

Blancmange 2018

I loved last years Unfurnished Rooms but Wanderlust sees Blancmange at their very best, bringing their pop sensibility back to the surface, whilst exploring the dark side of electronica. One of the strengths of this album is that the music channels the adventurous spirit of the 1980s, yet the lyrics explore a dystopian, close enough to touch, near future. This mix of darkness and light makes Wanderlust a unique album in the Blancmange catalogue, and one of the most interesting albums I have heard this year.

Distant Storm
In Your Room
I Smashed Your Phone
Gravel Drive Syndrome
Talking to Machines
Not a Priority
TV Debate
Leaves
White Circle, Black Hole
Wanderlust

wanderlust
Buy Blancmange Wanderlust on CD from Amazon

wanderlust

Buy Blancmange Wanderlust on vinyl from Amazon

near_future_-_ideal_home

Buy Near Future – Ideal Home on Amazon





Trevor Horn Band – Live at Sarm Music Bank 19/7/2018

29 07 2018

The Trevor Horn Band played live at the opening of Sarm Music Bank‘s impressive new facility in Old Oak Common on July 19th 2018.

Sarm Music Band invite

The band included Trevor Horn (bass and vocals), Lol Creme (guitar and vocals), Luis Jardim (percussion), Phil Palmer (guitar), Steve Ferrone (drums), Izzy Chase and Hayley Sanderson (vocals), Jamie Squire (vocals and guitar) with guest appearances from vocalists Matt Cardle and Steve Hogarth (Marillion).

Lol Creme, Luis Jardim, Trevor Horn and Steve Ferrone

The invite / competition winners only performance was the perfect opportunity to christen the new rehearsal space, and was also a great way of showcasing some of the songs that will appear on the  forthcoming Trevor Horn album. Reports online suggest that the album may be called The Eighties Reimagined, and will consist of some of Trevor Horn’s favourite 80s songs, recorded with the band, a 65-piece orchestra and guest singers.

The set opened with the air-raid sirens signalling Two Tribes, the first of three Frankie Goes To Hollywood songs. Sporting one of the finest basslines of the 80s, this was a powerful opener, and the acoustics in the room, even at a very loud volume, sounded amazing.

Sadly we were only treated to one song from The Buggles back catalogue on this occasion. After an amusing Boris Johnson anecdote, TCH and the band performed a note-perfect Video Killed the Radio Star.

th4

“And now we meet in an abandoned studio
We hear the playback and it seems so long ago”

I was expecting to hear some Godley & Creme, and clearly Five O’Clock in the Morning or Art School Canteen were not likely as part of this performance, so as expected the band performed the TCH produced perfect pop of Cry.

Lol Creme can still hit the high notes, evidenced as the band delivered a rowdy version of 10cc’s first no1 single, Rubber Bullets, which was originally released in 1973.

Marillion vocalist Steve Hogarth joined the band for two songs – David Bowie’s Ashes To Ashes (you could not have an 80s tribute without the Thin White Duke) and the most surprising song in the set, Joe Jackson’s Different For Girls (from the I’m the Man album). This timeless song was released in 1979, so although it is not an 80s song, it was an interesting choice.

thsh

A re-imagining of Slave to the Rhythm marked the halfway point in the set. On stage percussionist and frequent Trevor Horn collaborator Luis Jardim performed the bass on the studio version of the track, fact fans.

Trevor switched back to lead vocals on the Yes hit from 1983’s 90125 album, Owner of a Lonely Heart, complete with Synclavier / Fairlight sounding stabs. The second Frankie Goes To Hollywood song of the night was sung by guest vocalist Matt Cardle. A string laden version of The Power of Love went down a treat with the audience.

th2

A version of the 2002 no1 single All the Things She Said by Russian pop duo t.A.T.u.was performed with Izzy Chase and Hayley Sanderson sharing lead vocals.

The set wrapped up with a trio of massive 80s singles – a reworked version of Tears For Fears Everybody Wants to Rule the World (which will surely feature on the forthcoming The Eighties Reimagined album), Dire Straits Money For Nothing and the final FGTH song of the evening, Relax.

I’m looking forward to hearing The Eighties Reimagined album (hopefully later this year) and it looks like there will be further live dates from The Trevor Horn band to promote the album. Follow TCH on Twitter or Facebook to stay in the loop.

Full setlist:

Two Tribes
Video Killed the Radio Star
Cry
Rubber Bullets
Ashes to Ashes
Slave to the Rhythm
Owner of a Lonely Heart
The Power of Love
All the Things She Said
Different For Girls
Everybody Wants to Rule the World
Money For Nothing
Relax

Legacy

Buy Legacy – 3 Chord Trick (the band features new, original material from former members of Dire Straits, and features Trevor Horn on bass)

Buy Godley & Creme – Body Of Work (1978 – 1988) Box set

Buy the Trevor Horn – Slaves To The Rhythm live DVD

Buy the 10cc Classic Album Selection Box set

Buy Grace Jones – Slave To The Rhythm Collector’s Edition, 2015 remaster

 





John Foxx – Metamatic (Deluxe Edition)

30 04 2018

meta500John Foxx releases a 3 CD deluxe edition of his Metamatic album on 25 May 2018. The original 10-track album, recorded in 1979 and originally released in 1980 was remastered from analogue tapes back in 2014, along with various B-sides. A few tapes full of instrumental music from the sessions were also set aside for remastering but these revealed further discoveries, including alternative mixes and the song Miss Machinery – a mutant, electro-punk twist on Foxx B-side, 20th Century.

Jonathan Barnbrook (regular Foxx collaborator and Bowie’s Blackstar designer) worked on the new 2018 reissue design as the project grew to 49 tracks across 3 CDs. This includes the 15 instrumentals contained on CD3 which collectively sound like a lost electronic soundtrack with echoes of Quatermass, BBC’s Radiophonic Workshop and the dark DIY electronics of Thomas Leer and Robert Rental.

Metamatic is one of the most influential electronic albums from the early 80s. Following his departure from Ultravox, Foxx stripped the sound back to just voice and electronics. The stark, at times industrial electronica still sounds like the future, 38 years after the albums original release. That is some testimony to the quality of the material.

johnfoxx

Most people will be aware of the singles Underpass and No-one Driving, but dig a little deeper and there is much more to savour.  He’s a Liquid is a key track, with lyrics that have always made me feel ill at ease.

“She’s elusive
He’s adhesive”

A New Kind of Man ups the tempo and hearing this track, I am instantly transported back to the late 70s / early 80s. A sense of detachment and isolation drip from Foxx’s lyrics on most of the songs on Metamatic. The off-kilter Tidal Wave conjures up the spirit of J. G. Ballard and would have sounded great as part of the soundtrack to High Rise.

Blurred Girl is almost a template of the sound of 1980. The classic Roland CR-78 rhythm and the plaintive synths add a rare warmth to what is often an icy cold musical landscape.

“Standing so close, Never quite touching…”

Touch and Go is probably the most commercial track on the album. I love the way that the synths rise like waves in the songs outro, smoothing the metronomic beat. The end section is by far my favourite musical performance on the album.

“There’s motorway sparks
And meetings in the park
And fires from years ago
You can watch your friends
Through this tiny lens
Then you’ll know that there’s no way home

John Foxx would leave the sound of Metamatic for his next studio albums but returned to the cold electronica for some of his more recent work, particularly with Louis Gordon and The Maths.

Discs 2 and 3 of the deluxe Metamatic are a treasure trove for Foxx fanatics. Disc 2 brings together B sides, radio edit / single mixes, the wonderful single Burning Car and alternative versions of album tracks. Like A Miracle (Alternative Version) is an early version of the song that was released as a single in much fuller form in 1983. Underpass (Extended Version) and Blurred Girl (Longer Fade Version) are another two highlights of the second disc.

Another key track from Disc 2 is My Face, originally a flexi-disc release, and almost acting as a hint to the sound of the second John Foxx album (and my personal favourite) The Garden.

Disc 3 includes 15 instrumentals – some more fully formed than others. The sparse instrumentals are interesting to hear as part of the history of the album, but I don’t think I will return to them often. My favourites on disc 3 include a mournful alternative version of Glimmer, and the haunted ballroom piano of Fragmentary City (that predates the work of The Caretaker aka James Leyland Kirby by several decades).

Disc 3 is rounded off with Miss Machinery, a cold twist on B side 20th Century, a fascinating Giorgio Moroder-like take of No-One Driving, and an early version of Burning Car (with a Fade To Grey like bassline).

Disc 3 ends with a lo-fi Like A Miracle and a warmer , more fully realised and piano under-pinned take on No-One Driving, that feels like it was recorded nearer to The Garden.

This definitive version of Metamatic is released by Metamatic Records on 25 May 2018.

Disc: 1
1. Plaza
2. He’s a Liquid
3. Underpass
4. Metal Beat
5. No-one Driving
6. A New Kind of Man
7. Blurred Girl
8. 030
9. Tidal Wave
10. Touch and Go

Disc: 2
1. Film One
2. This City
3. To Be With You
4. Cinemascope
5. Burning Car
6. Glimmer
7. Mr. No
8. Young Love
9. 20th Century
10. My Face
11. Underpass (Radio Edit)
12. Non-one Driving (Single Version)
13. Like a Miracle (Alternative Version)
14. A New Kind of Man (Alternative Version)
15. He’s a Liquid (Alternative Version)
16. Plaza (Extended Version)
17. Underpass (Extended Version)
18. Blurred Girl (Longer Fade Version)

Disc: 3
1. A Frozen Moment
2. He’s a Liquid (Instrumental Dub)
3. Mr. No (Alternative Version)
4. The Uranium Committee
5. A Man Alone
6. Over Tokyo
7. Terminal Zone
8. Urban Code
9. A Version of You
10. Glimmer (Alternative Version)
11. Fragmentary City
12. Metamorphosis
13. Approaching the Monument
14. Critical Mass
15. Alamogordo Logic
16. Touch and Go (Early Version)
17. Miss Machinery
18. No-one Driving (Early Version)
19. Burning Car (Early Version)
20. Like a Miracle (Early Version)
21. No-one Driving (Alternative Version)

Pre-order Metamatic Deluxe 3-CD from Amazon
meta500





Plenty – It Could Be Home

14 04 2018

It Could Be HomePlenty was Tim Bowness’s immediate pre-no-man band. In 2016 and 2017, Bowness and fellow founder members Brian Hulse and David K Jones re-recorded Plenty’s catalogue of 1980s songs, revising some of them and even adding a newly written song (The Good Man). The end result is the debut album, It Could Be Home released on 27 April 2018 on Karisma Records.

Plenty are joined on the album by no-man live band members Michael Bearpark and Steve Bingham, Tim’s Bowness / Chilvers collaborator Peter Chilvers and Jacob Holm-Lupo (White Willow / Opium Cartel).

Whilst the album is understandably shot through with a real 80s sensibility, with touches of The Blue Nile, David Sylvian, Peter Gabriel, Thomas Dolby, and David Bowie lingering in the sounds and arrangements, It Could Be Home deserves to be listened to as more than just a work of pure nostalgia.

The album opens with a synth heavy, lightly delivered Jagger / Richards As Tears Go By, that is more Stranger Things than Lost in the Ghost Light. Hide delivers an Associates vibe to the music, and signals an album that is much more upbeat than recent Bowness releases. I think that the recent Bowness solo album’s have delivered some of his finest work, with material that is often comparable to a lot of his work in no-man, but it is good to hear a different side with Plenty. Vive la différence.

By far my favourite track on the album, the melancholic Never Needing is the one track on It Could Be Home that would fit onto one of Tim’s recent albums. Fans of no-man’s early work will recognise the song – previously recorded by no-man as Life is Elsewhere, and nowadays mostly existing on dusty old bootlegs or sitting as an (original “dodgy”) Napster-era, hiss-filled mp3 file on people’s hard-drives.

The Plenty version is a revelation. Sparse, brooding and slow-building, with an aching synth line and some of Tim’s most personal and direct lyrics and vocals. This is one of those occasions where I can confidently say that it is worth buying the album just for this song.

“You live in your world and I die in mine.
But I’m hopeful life is elsewhere”

Broken Nights really lifts towards the middle section of the song, before a key 80s stalwart (synth marimba bells) usher in the rest of the song.

Foolish Waking is another of my favourites from the album. Beatless and with some wonderful guitar lines from Michael Bearpark, and feeling a little like the work of the only Tim Bowness/Samuel Smiles studio album, World of Bright Futures from way back in 1999.

plenty

Strange Gods is underpinned by a delicious Mick Karn like bass-line, has hints of Bowie in the verses and a chorus seemingly inspired by The Blue Nile. So how can you not like the song? The mix, carried out with obvious love and attention by Norwegian guitarist, composer and producer Jacob Holm-Lupo (White Willow / The Opium Cartel) is colourful and warm throughout the album, but especially on Strange Gods.

Every Stranger’s Voice features Peter Chilvers on piano and the forensically detailed lyrics are filled with memories of an intense but long dead relationship. A powerful Michael Bearpark solo lifts the song towards its conclusion.

Another uptempo track is Climb, which has a real post-punk meets The Associates taking a quick detour via The Comsat Angels (circa the Fiction album). What a marvellous melting pot.

The Good Man is a new song that emerged during the recording sessions, and lyrically is tied to the album’s key track, Never Needing. The music has a late 80s feel, and lyrics that signal regret at letting go and giving up the fight too soon. The Good Man and the album’s closing title track offers something very different from recent Bowness releases.

The fact that the recording sessions produced new material of this quality, along with out-takes (such as a wonderful version of Forest Almost Burning, that I hope is revisited) suggest that there is a future for Plenty beyond this album.

If you pre-order It Could Be Home by Plenty from Burning Shed, on CD, vinyl or exclusive limited edition blue vinyl, you will receive an exclusive postcard and a free download EP of four of the band’s 1980s demos. Please note – this exclusive offer is only available until 27-04-2018 and only From Burning Shed.

Order Plenty – It Could Be Home on CD from Amazon

Order Plenty – It Could Be Home on vinyl from Amazon

As Tears go by
Hide
Never Needing
Broken Nights
Foolish Waking
Strange Gods
Every Stranger’s Voice
Climb
The Good Man
It could be Home

Band website: www.weareplenty.com





Thomas Lang – Scallywag Jaz (2 disc 30th anniversary edition)

11 11 2017

THOMAS-LANGFinally available again, in a 2 disc, expanded 30th anniversary edition, is Scallywag Jaz by Thomas Lang, one of the best albums from the late 80s.

You may have seen Thomas and his band supporting Alison Moyet or Suzanne Vega in the late 80s, or caught the band on one of their many tours. You most definitely would have heard the most well-known Thomas Lang song – The Happy Man – on the radio or seen the song performed on The Tube.

But there is much more to Scallywag Jaz than The Happy Man.  A fine version of the Billy Paul standard Me & Mrs Jones, along with the Hart & Rodgers Have You Met Miss Jones? and the original Shoelaces (Mrs Jones Part 2) tell the age-old story of lust and betrayal.

One of the standout tracks (and it still sounds wonderful performed live over 30 years later) is the albums opening track, Fingers & Thumbs.

A dark, brooding piece that really highlights the strengths of the early Thomas Lang material.

The albums pop / jazz feel led to comparisons to Sade at the time, but there was more depth to the material on Scallywag Jaz. Listen to the album and you will find yourselves telling all your friends that you have discovered one of the UK’s finest vocalists, and you cannot believe why he is not a household name. Be warned – don’t say I didn’t tell you.

Injury is lyrically the darkest track on the album, and features one of Tom’s finest vocals.

“If I could choose your injury
I would tear your heart into pieces”

Sleep With Me has long been one of my favourite Lang tracks, and it has not dated at all. Such strong swagger in this one!

Spirit features backing vocals from Sam Brown and some great bass and guitar work from John Murphy. John is now a successful film composer – whose work includes 28 Days Later & Sunshine.

The 30th anniversary reissue pulls together may long-lost Lang tracks from the era – of which the anti-war Sons Of is a particular highlight. The playful, fairground evoking arrangement (a great production by band-member David A Hughes) works so well with the dark, emotional lyrics.

“Sons of true love or sons of regret
All of the sons you cannot forget”

The second disc is a treasure trove for Lang fans. A couple of versions of The Happy Man, including the Robin Millar produced 2nd single version, kick off the disc.

Other notable rarities include a demo version of Sleep With Me, and a track from the rare as hens teeth vinyl only EP, Red, available on CD for the first time.

One of Tom’s finest early songs, The More That You Expect, is a highlight of disc 2. This song could easily have made the final cut on the original Scallywag Jaz release.

A couple of newer songs, recorded a couple of years ago appear halfway through the album. Thomas recently wrote that “Scared is about how difficult and painful it was to come out. Now I know how important it was to be honest and not to be scared, as its only made me stronger.” Scared is powered by a strong bass heavy groove and was co-written in the 90s with the late John Uriel. Vocally Tom sounds better than ever on Scared and the more uptempo Americana of I Believe.

The remainder of the album is made up of live tracks – from the Live in Tokyo 1991 limited release and some more recent, previously unreleased recordings from Liverpool. These tracks will really whet your appetite for the 2018 Scallywag Jaz tour that is on the horizon.

So first off buy the definitive version of the lost 80s classic that is Scallywag Jaz. Then buy the most recent Thomas Lang studio album, The German Alphabet. Ok, all done? Good – now why not follow Thomas Lang on Twitter and look out for the 2018 tour dates. You can now pat yourself on the back for acquiring such fine taste in music. It feels good, doesn’t it?

Buy Scallywag Jaz: 2 Disc Expanded 30th Anniversary Edition from Amazon

Buy The German Alphabet (CD) by Thomas Lang

Buy The German Alphabet (Vinyl) by Thomas Lang

Buy Torch (CD) by Thomas Lang








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