B.E.F. - Music For Stowaways (1981)

U.K. import

An impulse purchase that definitely did not pay dividends. If I done even the slightest amount of research before clicking the "add to cart" button, I would have seen this release is more or less a 2023 repackaging of a CD I already own and rarely play. Here's the lowdown from the Cold Spring record label because I'm too upset with myself to do much more than cut-and-paste:

The first reissue of seminal early 1980's electronic recordings from the British Electric Foundation (B.E.F.), aka HEAVEN 17 / ex-THE HUMAN LEAGUE's Martyn Ware and Ian Craig Marsh, with Adi Newton (CLOCK DVA / THE FUTURE), and John Wilson (HEAVEN 17), originally a cassette-only release (1981).

Following two groundbreaking albums ('Reproduction' and 'Travelogue'), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company - the British Electric Foundation (B.E.F.) - and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory.

B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled 'Music for Stowaways', with 'Stowaways' being a reference to the original name for the then-new Sony portable cassette player - later renamed the Walkman - of which B.E.F. were great fans. 'Music for Stowaways' was intended to be listened to on such a device. The cassette was followed by a seven song LP, 'Music For Listening To', which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17.

This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as 'Groove Thang' - an instrumental version of the debut single by Heaven 17 - and 'The Old At Rest', which derived from a version of 'Wichita Lineman' by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.'s 'Music of Quality and Distinction, Volume One' covers album in 1982.

Supporting musicians on 'Music For Stowaways' included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track 'Uptown Apocalyse', with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on Groove Thang.

The innovative sounds heard on 'Music For Stowaways' were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the '50 Greatest Lost Albums of All Time'.

CD in mini-LP sleeve - with printed inner sleeve, replicating the vinyl artwork.

Shrug. While I fully appreciate the DIY ethos, these tracks may be of historical interest, but ultimately come off as demos. Live and learn, I guess. At least there's a new-to-me track added in.

Peak on the US Billboard Top 200 chart: Not released in the US

Tracks: 12 tracks, 40 minutes. I do like track 7, The Old At Rest (please, no jokes about my age), which is soundtrackish in a dreamy sort of way. The new one is track 11, Honeymoon In New York, which was previously included in the 2019 Heaven 17 box set, Play To Win. 

Personal Memory Associated with this CD: None, but reading the above press release taught me that bit about Sony calling its personal cassette stereo the "Stowaway" for a brief time in the U.K. In the U.S., the Walkman was originally called the "Soundabout."

Previously revisited for the blog:
Music of Quality and Distinction, Volume Three: Dark (2013)
Music of Quality and Distinction, Volume One (1982)
Music for Listening To (1981)
Geisha Boys and Temple Girls (1981)

Various Artists - Jazz Like You've Never Heard It Before! (1985)

Made in what was then called West Germany for the US market.

Because I just can't pass up a very early CD sampler when I see one for sale. Subtitled "Selections From The World's Largest Jazz Catalog," this very early CD compilation draws from many of the labels that fell under the PolyGram umbrella at that time, most notably Verve. For the most part, we're treated to jazz standards performed by jazz legends. Plus, the digital remastering sounds fantastic. This thing wasn't just thrown together.

Tracks, with my favorites checked:

1. Something's Coming - The Oscar Peterson Trio, from the 1962 Verve album, West Side Story. ✔
2. Summertime - Ella Fitzgerlad & Louis Armstrong, from the 1959 Verve album, Porgy & Bess.
3. Count 'Em - Count Basie, from the 1963 Verve album, L'il Ol' Groovemaker...Basie! ✔
4. The Sweetest Sounds - Sarah Vaughan, from the 1967 Mercury album, Sassy Swings Again.
5. Stardust - Clifford Brown, from the 1955 EmArcy album, Clifford Brown With Strings. ✔
6. Corcovado (Quiet Nights of Quiet Stars) - Stan Getz & João Gilberto, from the 1964 Verve album, Getz/Gilberto. ✔
7. Little Lulu - Bill Evans, from the 1964 Verve album, Trio 64. ✔
8. Too Close For Comfort - Mel Tormé, from the 1960 Verve album, Mel Tormé Swings Shubert Alley.
9. Body And Soul - Sonny Rollins, from the 1958 MetroJazz album, Sonny Rollins And The Big Brass.
10. Stars Fell On Alabama - Billie Holiday, from the 1957 Verve album, Songs for Distingué Lovers. ✔
11. Night Train - Jimmy Smith & Wes Montgomery, from the 1966 album, Jimmy & Wes: The Dynamic Duo ✔
12. Manhattan - Dinah Washington, from the 1959 Mercury album, What a Diff'rence a Day Makes!
13. Djangology - Stephane Grappelli, from the 1979 MPS album, Young Django
14. As Long As We're Together - Chuck Mangione, from the 1973 Mercury album, Land Of Make Believe.
15. Armando's Rhumba - Chick Corea, from the 1976 Polydor album, My Spanish Heart.

And now that Jimmy Smith/Wes Montgomery album is on my radar...

Personal Memory Associated with this CD: None

Clarke/Corea/Henderson/Hubbard/White - The Griffith Park Collection 2: In Concert (1983)

A 2 CD live version of the group's 1982 studio album, recorded Friday, April 3, 1982 at the Circle Star Theater, near San Francisco. The band performs 4 of the tunes from that first album and takes the opportunity to stretch out - everybody gets a solo! - doubling and sometimes tripling the length of the tunes: the shortest track clocks in at 12 minutes, the longest almost 20. As drummer/producer Lenny White writes in his liner notes, Freddie Hubbard steals the show and "reaffirms his claim to fame as the premier trumpeter in the world." I could use less saxophone, but think it's a better overall album than the earlier studio release. Plus we're treated to great cover art, a 1937 oil painting entitled "Sheridan Theatre" by one of my favorite artists, Edward Hopper.

Stanley Clarke - bass
Chick Corea - piano
Joe Henderson - tenor saxophone
Freddie Hubbard - trumpet & flugelhorn
Lenny White - drums

Press of the time:

• Downbeat (★★★★½): "It's great to hear these guys hitting their stride on some fiercely creative extended jamming."

Album chart peaks:

• US Billboard 200: did not chart
• CashBox Jazz: #29

Tracks: The first four tracks are taken from the first album and includes what I think is the group's best original, Why Wait. The final two tracks are I Mean You, written by Thelonious Monk, and Here's That Rainy Day, a 1953 standard written by Jimmy Van Heusen for the short-lived, quickly forgotten musical Carnival In Flanders. 

Personal Memory Associated with this CD: None, but on April 3, 1982, I was recovering from a bad case of the measles. More on those adventures here: Adventures in One Act Play - Spring 1982. But that really doesn't have much to do with this live album other than coincidental timing, so never mind. As you were.

Previously revisited for the blog:
The Griffith Park Collection (1982)

Clarke/Corea/Henderson/Hubbard/White - The Griffith Park Collection (1982)

It's the old rhythm section from Return To Forever, but this time they've gone acoustic with the help of the addition of a couple of notable horn players. More post-bop and hard-bop instead of RTF's usual fusion. The same personnel on this album, plus singer Chaka Khan, recorded the throwback standards album, Echoes Of An Era, during the same recording sessions. The recording for The Griffith Park Collection was more spontaneous as the musicians played with minimal rehearsal. As described by the Elektra/Musician label:

and from the February 13, 1982 issue of CashBox magazine, p. 27:

I don't love it and that's because of the inconsistent material, not the performances (except when the musicians inexplicably try to coax nonidiomatic sounds out of their instruments). Maybe they should have stuck with standards?

Original album liner notes by Lenny White.

Stanley Clarke - bass
Chick Corea - piano
Joe Henderson - tenor saxophone
Freddie Hubbard - trumpet & flugelhorn
Lenny White - drums

Reviews/ratings:

• Musician: "I for one would like to see more of this"
• Downbeat (★★★): "a good album that could be much better"
• Stereo Review: "An invigorating exercise in the arts of improvisation and teamwork." Also designated a Recording of Special Merit and received 'honorable mention' by the magazine in its Record of the Year Awards for 1982.

Album chart peaks:

• US Billboard 200: did not chart
• Billboard Jazz: #35
• CashBox Jazz: #26
• Radio & Records Jazz Radio National Airplay: #29

Tracks: The better cuts are Why Wait (written by Stanley Clarke) and Remember (written by Steve Swallow).

Personal Memory Associated with this CD: None. This CD was purchased in an effort to collect all the releases on the Elektra/Musician label, 1982-84. Best estimates have me currently at 45 of 55 releases on either vinyl, CD, or both formats.

Utopia (1982)

Canadian import

Note: this release was originally purchased as a 2 LP set, later replaced by this CD.

At some point in late 1982, I was over at my buddy Jim's house watching MTV. Those visits happened frequently in 1982-83, especially on weekends as dates with members of the opposite sex were few and far between at that time. The unusual video for Feet Don't Fail Me Now appeared at some point and while I didn't care much for the video, I couldn't resist that hook. I bought this Utopia album on our next trip to the Houston record stores, which probably didn't happen too much after we saw the video for the first time. I didn't love the album at first. I guess I was expecting different - I mean, just look at their New Wave outfits on the cover! But I only found a little bit of a New Wave vibe; this album was a pastiche of different grooves and rotating lead singers. Plus, the format was odd: the first LP was "normal" with 5 tunes on each side, then there was a second LP (listed as a "5 track bonus LP" in the ad below) that had the same 5 tunes on both sides. It's the kind of inconvenience that puts off a lazy, 16 year old nudnik. Add to that the wide variety of styles and young Mark didn't spin this one very often.

That was then, this is now.

I eventually came to love the thing and play it often. Indeed, my enjoyment of Todd Rundgren's work has only increased over the years. And while this is decidedly a group effort in which all band members make considerable contributions in songwriting, production, and lead vocals, Rundgren is first among equals.

Press of the time:

• Rolling Stone (★★★½): "With enviable ease, Rundgren and Utopia use simple melodic devices to trigger a dominolike succession of core riffs, crack rhythms and chorus hooks."
• Billboard: "this could be the band's biggest in some time."
• CashBox: "a bevy of upbeat tunes geared for hook-conscious listeners."
• Stereo Review: Best of the Month. "A Nearly Perfect Set of Well-Made Pop Songs"

Album chart peaks:

• US Billboard 200: #84
• Billboard Rock: #23
• CashBox: #93
• Rolling Stone: #55

Tracks: Let's rank 'em! (excluding the bonus track, the Dance Mix of Hammer In My Heart)

1. Feet Don't Fail Me Now
2. I'm Looking At You But I'm Talking To Myself
3. Neck On Up
4. Hammer In My Heart
5. Bad Little Actress
6. Forgotten But Not Gone
7. Princess Of The Universe
8. Chapter And Verse
9. Say Yeah
10. Libertine
11. There Goes My Inspiration
12. Private Heaven
13. Call It What You Will
14. Burn Three Times
15. Infrared And Ultraviolet

As you could probably guess, this album plays much better on a single CD than on 3 different LP sides. Despite the MTV airplay, the aforementioned Feet Don't Fail Me Now only managed to climb to #82 on the pop chart. I love that hook as much now as I did when I first heard it. The other single released from the album was the Hammer In My Heart, which didn't reach the pop chart at all, but managed to get to #31 on the rock chart.

Videos for Hammer In My Heart and Feet Don't Fail Me Now - along with You Make Me Crazy from the 1979 album Adventures In Utopia - appeared on a "Video 45" tape titled The Utopia Sampler.

Personal Memory Associated with this CD: see above

The Jim Cullum Jazz Band - 'Tis The Season...To Be Jammin'! (1984)

Cornetist Jim Cullum was a local jazz legend here in San Antonio and my father was a big fan. The Jim Cullum Jazz Band was a 7 piece group that leaned towards the Dixieland/hot jazz style, so what we've got here are 17 familiar Christmas tunes given the (mostly) Dixieland treatment. Hot jazz isn't my usual bag, but if it's yours, these are good performances of good arrangements.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:

The first 12 tracks were recorded in 1984; the remaining tracks were recorded in 2000 to augment this CD release. Personnel varied slightly, but Cullum and his chief arranger, pianist John Sheridan, were at both recording sessions.

Personal Memory Associated with this CD: None.

Essential Carols: The Very Best Of King's College Choir, Cambridge (2005)

A compilation of recordings originally released 1959-1965 under the direction of David Willcocks.

The men and boys of King's College Choir provide a welcome respite from the holiday music I hear on the radio. Don't get me wrong, I enjoy Santa, Rudolph, Frosty, and the gang, but these songs are the more reflective, traditional, sacred stuff of quiet nights, a warm fireplace, a well-lit Christmas tree, and maybe some hot chocolate, fruitcake, or mincemeat pie. (Here in San Antonio this year, the forecast is predicting a high of 77° on Christmas Eve, so maybe no fire and hot chocolate.)

The sound quality isn't great, but it's better than you would expect from analog mono recordings made in the mid-twentieth century. The main draw to me is the inclusion of many old carols that I love but very rarely hear. This music brings me back to the stories of the birth of Jesus as found in the Gospels of Matthew and Luke. And, as one reviewer over at Amazon writes, "Mince pies were definitely better after I played the music." Yum.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:

The aforementioned carols that I rarely hear include such tracks as Ding Dong Merrily On High, Gabriel's Message, Once In Royal David's City, Personent Hodie, and the Coventry Carol. It ends with the gorgeous Vaughan Williams piece, Fantasia On Christmas Carols. There's also plenty of carols here that I don't recall hearing other than other than this album so it's sending me down a rabbit hole of what are considered to be "traditional carols" in the UK.

Personal Memory Associated with this CD: None with these particular discs, but hearing this kind of music from 4 voice choir (most songs a capella, a few with accompaniment) takes me back to my early days. As a preacher's kid, I spent a lot of time at the church each December with potluck suppers, choir rehearsals, staff parties, cantatas, children's pageants, living nativities, and, of course, Advent and Christmas Eve services. These traditional carols were ever-present. Church members often gifted us food, dropping by the manse with baked goods, candy, and other treats. I distinctly remember our formal dining room table being covered with such dishes. Divinity was a very popular homemade confection at the time and we got plenty of it. And, yes, I get the joke - let's give divinity to the preacher. Haha.