Avishai Cohen - Into The Silence (2016)

I've been mesmerized by this haunting album ever since I picked it up. I was familiar with Cohen only by name from reading it in DownBeat magazine, but now I'm a fan. It almost plays as if late '60s Miles Davis recorded an characteristically esoteric, atmospheric album for ECM in the late '70s. I find it to be contemplative, melancholy, and somber. Late night headphones preferred.

Cohen - trumpet
Bill McHenry - tenor saxophone
Yonathan Avishai - piano
Eric Revis - double bass
Naheet Waits - drums

Reviews/ratings:

• DownBeat (★★★★): "well calibrated, poetic and straight from the heart."
• Between Sound And Space: "the results hark back to the golden age of ECM in both texture and mood."
• The Guardian (★★★★★): "The breadth of jazz references will make this irresistible for fans, but it’s beautiful contemporary music for just about anyone."
• JazzTimes: "beautiful, elegiac"
• All About Jazz - Mark Sullivan (★★★★): "It's beautiful music regardless, and clearly has a unity earned by the the consistent spirit in the composing as well as the spontaneous approach that the group took to this performance."
• All About Jazz - Karl Ackermann (★★★★★): "an extraordinary project on every level."

Tracks: While I enjoy the whole album top-to-bottom, my favorite tracks upon today's listening are Life And Death and Quiescence.

Personal Memory Associated with this CD: None

ABC - The Lexicon of Love II (2016)

Okay, let's just forget the inane sequential title of the album (don't worry, Martin, it didn't work for Joe Jackson, either) and look past the fact that I didn't order my copy in time to acquire one of the autographed CDs. Instead, let's just focus on the music because, while it isn't as good as Traffic, it's still a good album. Lots of strings, synths, romanticism, and, of course, Martin Fry's immediately recognizable voice (which has aged well, I must say).

A solid attempt to recreate the sound of the 1982 album, but let's be honest, without Trevor Horn at the board, this didn't have much of a chance to succeed on that count. That dadgum album title set my expectations too high, but the writing is strong enough (read: eightieslicious) that its an enjoyable listen from start to finish. Recommended for summer car listening on a bright afternoon with the top down (Wayfarers optional).

Metacritic has this album at a 70/100 based on eight reviews, but many of those reviews focus on the lyrical content which I usually ignore. Lexicon of Love II is good & you should buy it, but it's no sequel. Trevor Horn - accept no substitutes.

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

Tracks: Let's rank 'em!

1. The Flames of Desire
2. Viva Love (and I'll lump the reprise in with it here)
3. The Ship of the Seasick Sailor
4. I Believe in Love
5. Kiss Me Goodbye
6. Brighter Than the Sun
7. Singer Not the Song
8. Ten Below Zero
9. Confessions of a Fool
10. The Love Inside the Love

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Traffic (2008)
Absolutely (1990)
The Lexicon of Love (1982)

Monkey House - Left (2016)

NEW MUSIC WEEK 2016 (NOVEMBER 14-20, 2016)

I've bookended this theme week with my top two contenders for Album of the Year for 2016: Norah Jones' Day Breaks and this release from Monkey House. I've told this story before, but it's worth repeating: back in 2008, I "liked" a Steely Dan group on Facebook and, because social media loves to sell my personal data, I soon saw an ad that said something along the lines of "if you like Steely Dan, you'll like this Monkey House album." Based on that Facebook ad, I bought the thing unheard and immediately fell in love with the music. I've since purchased the group's whole back catalog, checked out any new releases, all the time waiting in vain for these Canadians to tour rural East Texas. While I'm waiting, they've released this gem.

I'll let the album's press release do some of the heavy lifting for me:

singer/songwriter/arranger/producer Don Breithaupt's songs are both lyrically and musically sophisticated, and the meticulous care taken with them helps account for the length of time always taken between Monkey House albums (this is only the fifth one since 1992).

Click on the image below for full press release:

Fantastic writing, arranging, and slick production - tight background vocals, thick, syncopated horn parts, beautiful harmonies and mu chords (what are mu chords? read the book). It's a master class in smoothness. Simply put, Monkey House plays the notes I want to hear.

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

Tracks: There's nothing to skip here, but if I had to pick favorites, today I'd go with

• My Top 10 List, which contains the best lyric on the album: "single malt, double shot, triple fun"
• the half-time feel of When The Kid Comes Home
• Good To Live which was co-written by West Coast/AOR legend Jay Graydon and features Graydon on guitar (immediately recognizable lick at the 3:00 mark)
• the moody shuffle of It's Already Dark In New York with its muted trumpet from Steely Dan stalwart Michael Leonhart
• Tango By Yourself is a throwback tune to the group's earlier sound and that's fine with me. And what's this? A tasty accordion solo? There's something you don't hear everyday.
• Anyone - which is a really a ballad with a busy drum part underneath that makes it not really ballad - imagine Steve Gadd crashed a late '70s David Pack/Ambrosia recording session.
• The stuttering lyrics and syncopated bass line of It Works For Me work for me (too easy?). But good lawd, I can't get the chorus out of my head - how many hooks are on this line?
• Maybe None Of This Would Have Happened starts off like a Joe Jackson joint, but quickly becomes a yacht rock-ish duet and then I check the credits and Marc Jordan co-wrote the thing and it all makes sense to me now.
• What Is Exactly Is It That You Do All Day? is middle-age white boy funk-lite at its finest and contains the second best lyric on the album "What exactly is it that you do all day if you're not missing me?" which sounds like something I'd say if I had thought of it. To be honest, all the lyrics on this one are hilarious. Oh, and did I mention this one has another earworm for a chorus?
• The satiric lyrics over a funky groove continues with Death By Improvement. Lots of solos on this one; including an Aja-ish drum solo from Mark Kelso.
• The last track, a fully orchestrated ballad, is the ironically titled The Art of Starting Over yet its a perfect closer. And just when I'm thinking, a trumpet solo would be perfect here, there it is.

Did I just list every song on the album as my favorite? Huh. How about that?

Thanks, Don. FYI, I'm available for any future sessions you might have. ☺

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Big Money: Singles, Remasters, Rarities, 1992-2005 (2005)

Also:
Just Passing Through: The Breithaupt Brothers Songbook, Vol. II (2014)

Sting - 57th & 9th (2016)

NEW MUSIC WEEK 2016 (NOVEMBER 14-20, 2016)

First, the good news: this album is miles better than 2003's Sacred Love. The bad news is that Sacred Love was so bad the bar was set mighty low. Still, even though I'd begun to question his abilities of late, Sting hasn't lost his ability to write a good hook when he wants to. And, as Rolling Stone writes in a ★★★½ review, "57th & 9th is a no-lute zone" so we're all grateful for that. I'm glad Sting is trying to be a rocker again, even it's only for a few tunes. Now, you guys put your egos aside and give me my Police reunion album.

I'm giving the CD booklet a thumbs up: in addition to lyrics and credits, it includes a track by track breakdown by Sting.

Peak on the US Billboard Top 200 chart: #9

Tracks: With the three bonus tracks, this thing doesn't even last for 50 minutes. I'm going to divide the tracks into 4 separate categories below.

• Pre-1983 era Police: I Can't Stop Thinking About You, Petrol Head
• 1983-1993 era Sting: 50,000, Down Down Down,
• 1994-1999 era Sting: One Fine Day, Pretty Young Soldier
• Current balladeer/troubadour era Sting: South On the Great North Road, If You Can't Love Me, Inshallah, The Empty Chair

As for me, I'll be playing only the first half (tracks 1-6) of this one. If you've landed at this blog, you've probably figured out that I'm a CD guy, but if you've paid twice as much for the vinyl, just listen to side A and the first cut on side B (yes, Petrol Head is worth the trouble of flipping over the record).

The three bonus tracks include two alternate (read: unnecessary) versions of album tunes, but the last track is a great live take of Next To You, a track from the 1978 debut album by The Police. And even though they've smoothed off the rough edges with a conjunto vibe, thumbs up for that cut anyway. Metacritic has this rated at 67 which, if you consider the live track in the average, is the perfect number. In the whole of Sting's pop/rock œuvre, this one ranks somewhere in the middle, alongside Mercury Falling and The Soul Cages.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Sacred Love (2003)
Brand New Day (1999)
Roxanne 97 (Puff Daddy Remix) (1997)
Mercury Falling (1996)
The Best of Sting 1984-1994 (1994)
Ten Summoner's Tales (1993)
The Soul Cages (1991)
...Nothing Like The Sun (1987)
Bring On The Night (1986)
The Dream of the Blue Turtles (1985)

Dr. Lonnie Smith - Evolution (2016)

NEW MUSIC WEEK 2016 (NOVEMBER 14-20, 2016)

Frequent readers of these bloggish ramblings know that I'm a sucker for the Hammond B3 organ so this album is right in my wheelhouse. Dr. Lonnie Smith spends this whole disc dialing up a '60s & '70s jazz funk groove and it's perfect. "Evolution" is an odd title choice for a throwback album, but I can't argue with the results so I'll shut up about it.

There's no bass listed in the credits so I'm assuming Smith's feet are providing those grooves on the pedals. Amazing. Great arrangements and production throughout. Don Was not only expertly produced this, he's also head of Blue Note Records, so that all worked out nicely.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Jazz: #8

Tracks:

1. Play It Back - a 14 minute funk tune with all kinds of solos, the best coming from pianist Robert Glasper. Originally from Smith's Live At Club Mozambique (recorded 1970), this sets the tone for the rest of the tracks.
2. Afrodesia - the funk continues, although a bit slower. This track features saxophonist Joe Lovano, who originally recorded this tune with Smith back in 1975. Lovano steals the track with his "G" Mezzo Soprano Saxophone (new instrument to me) solo, but trumpeter Maurice Brown also takes a tasty turn.
3. For Heaven's Sake - things slow down in this original Smith ballad, again featuring Lovano, this time on tenor saxophone. The melody is doubled by tenor sax and bass clarinet - not a combination you hear everyday but the arrangement ideally suits the melody. Smith and guitarist Jonathan Kreisberg both offer up tasteful, restrained solos.
4. Straight No Chaser - a manic, often frantic, take on the Thelonius Monk standard. Sounds like the trio is having a blast. Kreisberg (what a great tone!) makes this one his own while drummer Jonathan Blake is throwing as many polyrhythms into his playing as he can think of. I prefer the funkier tunes, but jazz purists would love this cut.
5. Talk About This - a Smith original that brings to mind Headhunters-era Herbie Hancock funk. Producer Was should have stepped in and gotten rid of the vocals, but that's a small nit to pick. This track contains my favorite organ solo on the whole album.
6. My Favorite Things - Smith adds some synth work to this Rodgers and Hammerstein tune from The Sound Of Music. It's not quite working for me and doesn't really fit in with the rest of the album. Smith is brave to tackle a tune which Coltrane laid claim to (and still owns) in 1961. Still an intriguing listen, though.
7. African Suite - The album finishes with a 10 minute suite written by Smith. If you're hoping the album would finish as funky as it started, you're outta luck because this sounds just like you'd expect from the title (although it hardly could be considered a suite). The track features nice flute work over a jazz waltz feel with lots of drumming - Hey! I just noticed there's two drummers on the track, although one is clearly playing percussion and not the traditional traps. Fun tune, but it wouldn't surprise me if the only first 5 tracks of this album get the plays from now on.

Down Beat, March 2016, p. 52

Personal Memory Associated with this CD: None, but evidently you can just start calling yourself "Dr." and people go along with it. If I'd known that 15 years ago, I coulda saved myself some time and money. (side note: I just paid off my student loans from my terminal degree so I'm very happy with that).

This CD is the only one featured this week that came in a good old-fashioned hard plastic jewel case, the way CDs were meant to be stored. All the other new releases from this theme week came in digipaks or cardboard sleeves. I'd classify myself as treehugger environmentalist, but I just can't help lovin' the plastic here. Sorry to see it being phased out; call me a sentimental fool. Or simply a fool.

Simple Minds - Acoustic (2016)

NEW MUSIC WEEK 2016 (NOVEMBER 14-20, 2016)

German Import

So what happens when an eighties post-punk turned New Wave turned arena rock band scales back their sound? Let's find out. First off, these tracks aren't acoustic so I call shenanigans on the album title (Mojo magazine labeled this "the least unplugged Unplugged album ever"). However, there's more acoustic than electric guitar and the synths are mixed way down so there's that. But let's be honest, what would Simple Minds be without synth pads and production effects? You can tell that time has taken a toll on Jim Kerr's voice, but to his credit, he's still singing the songs in the same keys. Not surprisingly, the band picks songs from their heyday; don't expect cuts from 2014's Big Music (which is a great album, FWIW). KT Tunstall duets on Promised You A Miracle and guess what chicken butt? It ends up sounding exactly like a KT Tunstall song. Other than that, it's exactly what you'd expect from such a venture.

Metacritic currently has this new release listed at 59, a rating I can endorse. Not bad, but leaves you scrambling for the originals.

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

Tracks:

1. The American from Sons and Fascination/Sister Feelings Call (1981)
2. Promised You A Miracle from New Gold Dream (81-82-83-84) (1982)
3. Glittering Prize from New Gold Dream (81-82-83-84) (1982)
4. See the Lights from Real Life (1991)
5. New Gold Dream (81-82-83-84) from New Gold Dream (81-82-83-84) (1982)
6. Someone Somewhere in Summertime from New Gold Dream (81-82-83-84) (1982)
7. Waterfront from Sparkle In The Rain (1984)
8. Sanctify Yourself from Once Upon a Time (1985)
9. Chelsea Girl from Life In A Day (1979)
10. Alive And Kicking from Once Upon A Time (1985)
11. Don't You (Forget About Me) from The Breakfast Club soundtrack (1985)
12. Long Black Train (Richard Hawley cover)

Tracks that work: 1, 4, 5, 8, 10, 11, 12
Not quite: 2, 3, 6
Tracks to be skipped: 7 (but you could have guessed this bombastic masterpiece wouldn't translate well to this sort of setting, no?), 9

Songs I wished had been on the album: Love Song, All The Things She Said, Belfast Child, Up On The Catwalk, Speed Your Love To Me, Let There Be Love. Some of these were released on the 15 track vinyl version of the release to which I cry, "Vinyl only bonus tracks?? WTF???" as I pull out what little hair I have left. What's with the anti-CD bias I'm picking up lately??

Say it ain't so.

Personal Memory Associated with this CD: None.

Previously revisited for the blog:
Glittering Prize (1992)
Real Life (1991)
Once Upon a Time (1985)
New Gold Dream (81-82-83-84) (1982)
Sons and Fascination/Sister Feelings Call (1981)

Paul Simon - Stranger To Stranger (2016)

NEW MUSIC WEEK 2016 (NOVEMBER 14-20, 2016)

"It's as inviting, immaculately produced, jokey and unsettled a record as any he has ever made."

-Rolling Stone in a ★★★★ review (June 7, 2016)

---

For a singer/songwriter, Simon uses rhythm in ways that set him apart and above. This album is full of his characteristic arrhythmic phrasing as well as world music influences (we won't get into a discussion of cultural appropriation right now, kthnx). I don't know who Clap! Clap! is, but I really dig his contributions. Speaking of not knowing, there's instruments in the credits I don't recognize: TrombaDoo, Big Boing mbira, Chromelodeon, as well as Harry Partch instruments such as Harmonic Canon and zoomoozophone. And I've just gotta get me a set of Cloud-Chamber Bowls.

Dadgummit, wife just denied my request using the "where would we put it?" excuse.

But I digress. Back to the album. People don't know what to make of it. In two neighboring reviews on Amazon, one buyer claims that this is "same old" while the very next review states this album "was nothing like he usually sings." Metacritic currently has it rated at 85, which doesn't surprise me because I bought this thing unheard based solely on good reviews and my affection for So Beautiful or So What. If you liked that 2011 album, I'll give ya good odds that you'll like this one, too. I did and I do.

Bonus points for Chuck Close album cover and the CD booklet, which includes track by track breakdown by Simon himself.

Peak on the US Billboard Top 200 chart: #3

Tracks: My current faves are The Werewolf, Wristband, The Riverbank, and the hilarious Cool Papa Bell. Skippable tracks include Stranger To Stranger and the interludes The Clock and In The Garden Of Edie.

Bonus tracks: 5 of 'em, including two live cuts from A Prairie Home Companion, two pieces that sound like unfinished demos, and a duet with Dion that sounds like a Springsteen b-side. If you didn't get the "Deluxe Edition" with these five tracks, don't sweat it.

Personal Memory Associated with this CD: None, although I'll admit I haven't given this album the proper amount of attention since its purchase.

Previously revisited for the blog:
So Beautiful or So What (2011)
Negotiations and Love Songs 1971-1986 (1988)
Rhythm of the Saints (1990)
Graceland (1986)
The Concert in Central Park (1982)
Still Crazy After All These Years (1975)

Norah Jones - Day Breaks (2016)

NEW MUSIC WEEK 2016 (NOVEMBER 14-20, 2016)

Simply put, this is Norah's best album since Come Away With Me and the most relaxing set I've heard in years. The album features Jones' piano playing which has, unfortunately, been minimized on some of her more recent releases; it's good to hear it again.

Just my two cents: the title shoulda been Night Breaks, because this is one of those perfect nighttime albums. Better every time I spin it. Metacritic currently has it rated at 77, which is low to these ears.

As I write these words, I've just finished the whole album and I'm so relaxed I'll be lucky to get anything else done today.

Album chart peaks:

• US Billboard 200: #2
• Billboard Jazz: #1

Tracks:

1. I'm grabbed instantly by Jones' sultry voice and Wayne Shorter's plaintive soprano sax on the lead track, Burn. 
2. The best track on the disc, Tragedy. 
3. I want to dislike Flipside because the faster tempo doesn't seem to fit with the rest of the album, but Dr. Lonnie Smith's B-3 is just too good.
4. It's A Wonderful Time For Love sounds like it's been in the Great American Songbook for decades.
5. And Then There Was You is a gorgeous waltz which works beautifully in a trio setting, then the strings come in and it's just perfect.
6. The first of three covers of the album, Jones tackles Neil Young's Don't Be Denied from 1973. I'm not a Young fan, but Jones does the best she can. Nonetheless, this is the blandest track on the album and my least favorite. Still, I can't skip it because it fits the overall mood of this joint.
7. The title song was the first single and I can't stop analyzing the mesmerizing arrangement and atypical chord progressions. I'm completely captivated and there's Wayne Shorter again.
8. The second cover on the album is Peace by legendary bandleader Horace Silver, written in 1959. A standard done right. Shorter contributes his best solo on the album and Jones' ain't too bad, either.
9. Once I Had A Laugh features a wordless chorus and a NOLA horn arrangement.
10. Sleeping Wild reminds me more than a little like Norah's take on Cold Cold Heart from her debut album.  And that's fine with me.
11. The penultimate tune, Carry On, is a country-ish waltz and features subtle B-3 work. Fits perfectly.
12. The final cut is Fleurette Africaine (African Flower), a 1962 tune by Duke Ellington. No lyrics, just Jones humming a melody alongside Shorter's improvisations. Damn sexy.

An entire album I'll play without skipping a track. Don't get much better than that.

click to enlarge

Personal Memory Associated with this CD: None

Previously revisited for the blog:
...Little Broken Hearts (2012)
The Fall (2009)
Feels Like Home (2004)
Come Away With Me (2002)

Mayer Hawthorne - Man About Town (2016)

A wonderfully smooth album of blue-eyed neo-soul, full of retro '70s goodness with just a touch of electro - these tunes would sound great on an AM transistor radio. Hawthorne must have grown up on a steady diet of Daryl Hall and West Coast soul/pop. The word "derivative" is often used in a derogatory sense, but that's not the case here. Metacritic has it 74, which sounds about right. The only thing you really need to know is that this thing spent the past five months in my truck's CD player and has just now come inside the house so I can give it a CDP listen this morning.

Album chart peaks:

• US Billboard 200: #90
• Billboard R&B: #3

Tracks: "...it’s tantalisingly brief but never short of quality." At only 34 minutes, there's not a lot of wiggle room for filler. That said, I prefer the tracks Cosmic Love, Book of Broken Hearts, Breakfast in Bed, The Valley, and Get You Back. The only track that doesn't seem to fit is the Police-ish Fancy Clothes.

Personal Memory Associated with this CD: Purchased on a trip to Austin's Waterloo Records in late May of this year.

h/t to Herc of Herc's Hideaway for introducing me to the recordings of Mayer Hawthorne.

Keb' Mo' - Live: That Hot Pink Blues Album (2016)

Is there such a thing as "feel good blues"? (The question is rhetorical - the answer is yes and the supporting evidence is right here.)

Most live albums seem like a shameless money grabs or concert souvenirs, but this double disc set simply makes the argument that all Keb' Mo' should be live albums. 16 songs from nine stops on his 2015 nationwide tour. Blues, roots, folk, pop, whatever you wanna call it, it's day-umm good. My only complaint would be the oversight of omitting the song Am I Right from the setlist.

I'm left with this question: how much would I have to pay Keb' Mo' to come sit on my porch and sing blues songs with me?

Album chart Peaks

• US Billboard 200: Did not chart
• Billboard Blues: #3
• Billboard Folk: #12
• Billboard Independent: #33

Tracks: From Disc One, my favorites are Tell Everybody I Know, Somebody Hurt You, The Worst Is Yet To Come, and the funk of Government Cheese. On Disc Two, my picks are More Than One Way Home, The Old Me Better, and Rita.

Favorite bit of patter: when one fan yells out "Freebird!" Keb' Mo' stops what he's doing, laughs along with the audience, then replies, "Ima learn that song to shut y'all up."

DownBeat, August 2016, p. 73

For the record, that 3 star rating is low, especially when you consider DownBeat has a reputation for handing out 4 stars like candy.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Live And Mo' (2009)
Suitcase (2006)
Peace...Back by Popular Demand (2004)
Keep It Simple (2004)
Just Like You (1996)
Keb' Mo' (1994)

Haircut One Hundred - Pelican West (Deluxe Edition) (1982/2016)

Note: this release was originally purchased as an LP, later replaced by a CD, later replaced by the brand spankin' new double disc 2016 Deluxe Edition. Back on December 19, 2010, for this blog's 100th post, I reviewed my original copy of this CD for this blog.

First, let's tackle the packaging: looks good and the liner notes include a new essay by Michael Silvester along with a complete band discography. I was hoping for lyrics, but no dice. Still, B for effort. However, I give the Cherry Pop label an A for transparency:

Musicwise, this has been called "the happiest album that ever existed" and I find it very hard to disagree with that opinion. Since 1982, this album has been in heavy rotation around here and easily makes my proverbial desert island list. For more on the original album and my personal discovery of it, click here for my original post. Also, Classic Pop magazine recently did a wonderful piece on the album in its "Classic Albums" feature series.

Press of the time:

• Stereo Review: "the best band yet to result from the current British infatuation with funk"
• Record World: "sophisticated, attractive work"
• Trouser Press: "airy treats that caress the ear like a soothing tropical breeze."
• Billboard: "The music and hooks are irresistible"
• Robert Christgau (C+)
• Rolling Stone (★★): "melodies have a light-hearted gait, and the hooks are often arrestingly direct"
• Smash Hits (8½ out of 10): "Check out the winning vocals, the sturdy, flexible rhythm section, creamy saxophone, the poignant, exhilarating and thoroughly British songs."

And here's the band "live tweeting" about this recording on Tim's Twitter Listening Party: https://timstwitterlisteningparty.com/pages/replay/feed_92.html

Album chart peaks:

• US Billboard Top 200: #31
• Billboard Rock: #41
• CashBox: #52
• Rolling Stone: #26

Pinbacks from my personal archives

Tracks: I bought this deluxe edition because it was advertised as having "previously unreleased tracks" so I'm putting that claim to the test this morning. Who am I kidding - I woulda bought it anyway but let's check track availability:

Disc One (original album tracks 1-12):

1. Favourite Shirts (Boy Meets Girl) - also on A, B*
2. Love Plus One - A, B, C
3. Lemon Firebrigade - A
4. Marine Boy - A, B
5. Milk Film - A
6. Kingsize (You're My Little Steam Whistle) - A
7. Fantastic Day - A, B
8. Baked Bean - A, B
9. Snow Girl - A, B
10. Love's Got Me In Triangles - A
11. Surprise Me Again - A
12. Calling Captain Autumn - A
13. Boat Party (b side of Favourite Shirts) - A
14. Ski Club (b side of Fantastic Day) - A
15. October Is Orange (Day 1 & 2) (b side of Nobody's Fool) - A
16. Nobody's Fool - B

Disc Two:

1. Favourite Shirts (Boy Meets Girl) (12" version) - also on A, C
2. Love Plus One (12" version) - previously unavailable on CD!
3. Fantastic Day (12" version) - previously unavailable on CD!
4. Nobody's Fool (12"version) - A, C
5. Calling Captain Autumn (special extended version) - previously unavailable on CD!
6. Boat Party (12" version) - previously unavailable on CD!
7. October Is Orange (Day 1 & 2) (12" version) - previously unavailable on CD!
8. Ski Club Of Great Britain - previously unavailable on CD!
9. Marine Boy (12" version) - previously unavailable on CD!
10. Love's Got Me In Triangles (special extended version) - previously unavailable on CD!
11. Favourite Shirts (Boy Meets Girl) (extended version) - previously unavailable on CD!
12. Fantastic Day (live) - C
13. Calling Captain Autumn (12" version) - C

All those new mixes bring a big smile to my face! Wish I'd had 'em when I was 16.

*Previously revisited for the blog:

1. Pelican West Plus
2. The Best of Nick Heyward & Haircut 100
3. The Greatest Hits of Nick Heyward & Haircut 100

David Bowie - ★ (2016)

Was planning on picking this up this morning anyway then I woke to the tragic news. Listening to it for the first time now while writing, realizing what I write today would be much different than what I might have written yesterday. I know nothing about this album except that it's produced by longtime producer Tony Visconti and Bowie experimented by hiring jazz musicians to play rock music.

Metacritic currently has it rated at 86. My favorite quote comes from The Guardian:

His 25th studio album concludes with I Can’t Give Everything Away, which seems to offer those attempting to unravel his lyrics a wry “best of luck with that” (“Saying no but meaning yes, this is all I ever meant, that’s the message that I sent”) while loudly trumpeting his own carefully maintained mystique.

Best of luck with that.

Peak on the US Billboard Top 200 chart: #1

Tracks: 7 tracks, 41 minutes.

1. ★ - actually a 10 minute medley of two songs, they're both beautiful melodies, but the first is purposefully obliterated by the aggressive drums. The second half descends into pseudo-funk before going back to the original theme with totally different backing drums. Is that an accordion? I can't make out the credits/lyrics because they're printed gloss black on flat black and my old eyes can't read it. The track is mesmerizing, though.
2. 'Tis A Pity She Was A Whore - a relentless rock track with screeching avant-garde saxophone. Intensity builds throughout, leaving me exhausted by the end.
3. Lazarus - lazy, midtempo self-epitaph about death. Musically, least favorite track so far. Lyrically, my favorite.
   
   


4. Sue (Or In A Season Of Crime) - a modified Bo Didley beat over a 'drum and bass' drum track with lots of chordal dissonance. Over all this mess, a slow, lyrical melody unfolds. And, in typical Bowie style, it all freakin' works somehow. Another track that leaves me exhausted.
5. Girl Loves Me - Not my thing musically, but I did like the pervasive lyric, "Where the f*ck did Monday go?" as I feel that's what I'll be thinking tonight.
6. Dollar Days - My favorite track so far, maybe because it's the most traditional pop song on the album. Even the sax solo plays it safe. It segues into...
7. I Can't Give Everything Away - Another beautiful pop track that sounds a lot like Roxy Music to me with an excellent guitar solo. Gorgeous way to end the album.

Just Bowie being Bowie. Always looking forward. Pure genius. His vision will be missed.

Gonna post this and listen again.

Personal Memory Associated with this CD:  Still to come.

Previously revisited for the blog:
The Next Day (2013)
Zeit! 77-79 (2013)
Changesbowie (1990)
Let's Dance (1983)