ROBERT WYATT IN BRIEF

This man is a genre unto himself. He's been affiliated with certain scenes (Canterbury prog, the early Rough Trade movement), but these were always transcended by the undeniably idiosyncractic nature of his vocals and his unique approach to songcraft.

It's easy to forget how unconventional Wyatt's vocals are after several years of hearing them - as ridiculous and crass as it sounds, 'mouselike' was the word that came into my head upon first hearing the solo album 'Rock Bottom'. A total lack of guile or pretence comes across, not to mention disarming beauty. Along with the vocals, inevitably, comes the music, which throws together bits and pieces from all over the world, but often comes back to quivering keyboards and remarkably odd yet immersive chord sequences. It occured to me a few months ago that one of his most endearing traits was his use of voices on the keyboard which no-one else could realistically get a tune out of.

I couldn't get away with discussing Robert Wyatt without mentioning that night in 1973 when he drunkenly tumbled out of a fourth floor window. Tragically, he was paralyzed and consigned to a wheelchair for the rest of his life. Even more commendable than his ability to continue producing music beyond this date was the way in which he miraculously turned a disaster into a positive. Although his conventional drumming days were over (his jazz-inflected style being the powerhouse behind early Soft Machine albums), he was motivated to bring his mastery of composition up to a frequently astounding new level of emotional expression.

I'll fill in other bits of the story with a choice selection of five albums and ten tracks. As ever, my knowledge (and album collection) may not be without holes, but hopefully what follows will give any newcomers an overview of where the guy is coming from.


TOP 5 ALBUMS

1. Rock Bottom (1974)

A classic example of an album which absolutely has to be heard in its entirety for full effect, this was the first post-accident record. There may be a lot of pain coming through these songs, but there's a lot of joy (ecstacy even) as well - he had recently married Alfreda Benge. Also, outside of Lee Perry's Black Ark, no-one has created such a convincingly 'underwater' atmosphere with their music. Oh, and look out for a wonderful Ivor Cutler cameo too!


'Little Red Riding Hood Hit The Road'.


2. Nothing Can Stop Us (1982)

One key element of the Wyatt oeuvre which i've all but glossed over thus far is his firm identification with the political left (i think i'm right in saying that he's a member of the Communist Party). This collection features only one Wyatt original, but the covers/interpretations combine fervent polemic with moving, sonically fascinating arrangements.


'Shipbuilding' - this may not appear on all versions of the album, but it's from the same era, not to mention devastating in its solemn power.


3. Soft Machine Vols. 1 & 2 (1968/9)

Essentially Wyatt's alma mater, Soft Machine's thrilling early material represents the point at which the psychedelic began to gradually evolve, for better or worse, into the progressive. Later albums would lean heavily on extended jazz-fusion workouts (especially after Wyatt's departure in 1971), but this compilation shows them at their most accessible.


'Hope For Happiness', 'Joy Of A Toy' and 'Why Am I So Short?' from Vol. 1.


4. Comicopera (2007)

After a period of insular, almost home-made recordings, Wyatt re-emerged in the late 90's and the 00's with an adventurous triumverate of albums almost brimming over with guest appearances from admirers and old Canterbury friends - who else could get both Paul Weller and Brian Eno onto the same album? It bodes very nicely for the future that my favourite of these LPs was also the most recent.


'Just As You Are'.


5. Old Rottenhat (1985)

Some might find this one's sparse atmosphere and relative lack of variety a bit claustrophobic, but it works very nicely for me. The political themes are still at the fore, whilst the densely layered keyboards provide a spooky accompaniment for some haunting, melancholy melodies.


'The Age Of Self'.


TOP 10 SONGS

1. Sea Song (from Rock Bottom, 1974)

The swirling, emotionally-charged album opener - features some oddly effecting scat vocalisations.


A stunning re-arrangement taken from a BBC4 documentary.


2. At Last I Am Free (from Nothing Can Stop Us, 1982)

The Chic song is overhauled to wistful yet potent effect.


An incomplete clip, but hey, it's something.


3. O Caroline (from Matching Mole, 1972)

The eponymous debut from the band Wyatt formed after Soft Machine mostly consisted of meandering improvisation, but this tender jewel bucked the trend brilliantly.




4. As Long As He Lies Perfectly Still (from Soft Machine Vol. 2, 1969)

My personal SM favourite, this storming slice of fuzzy acid-rock is also strangely poignant on account of Wyatt's vocal tribute to former member Kevin Ayers.




5. A Last Straw (from Rock Bottom, 1974)

I'm going to be good and leave it at just two tracks from this album (well, three including 'Little Red Riding Hood'), this one being characterised by captivating, unpredictable chord changes.




6. On The Town Square (from Comicopera, 2007)

A stirring steel drum-led instrumental - a moment of relative respite on a knotty yet highly rewarding album.

Unfortunately, HughTube has failed us here, so as a replacement, here's the stately 'Del Mundo'.




7. Born Again Cretin (from Nothing Can Stop Us, 1982)

The sole non-cover from this collection, bringing the thrilling sound of an army of chanting Roberts in undulating, magnificent harmony.




8. Gharbzadegi (from Old Rottenhat, 1985)

That album's most immediately approachable moment - Wyatt may not be able to drum conventionally any more, but he can still do some very interesting things with percussion.


Another performance from BBC4.


9. Free Will And Testament (from Shleep, 1997)

A relatively conventional highlight from the first of the 'comeback' LPs - "what kind of spider understands arachnophobia?"


The BBC4 doc again. The Italian subtitles seem oddly fitting.


10. Beware (from Cuckooland, 2003)

Taken from the most daunting of the recent albums, this demonstrates his singular ability to combine the mournful and the chaotic.




11. The Sweetest Girl (from Songs To Remember, 1982)

Okay, so this bonus track is a Scritti Politti song, but it's damn lovely all the same, featuring some distinctive keyboard work from our old friend.

SUPER FURRY ANIMALS IN BRIEF

Continuing the Welsh theme, here we have by far my favourite band to emerge from the detritus that was the late 90's Britpop scene - OK, i've got a fair amount of respect for Radiohead, but they don't really connect with me like these guys. Although many of their albums have been characterised by a breadth of vision and desire to evolve creatively unmatched during their era, all these intrepid adventures would have counted for little without the firm foundation of some of the best classic pop songwriting outside of the 60's. That sure sounds like an overstatement (not like me to get all hyperbolic!), but the lyrical and melodic skill of main man Gruff Rhys will hopefully in the ensuing decades be recognized on the same level as, well, any master of the form you care to think of.

The albums themselves are always great fun, many coming with wonderfully distinctive Pete Fowler sleeve art to boot. Psychedelic pop may be the starting point, but a kaleidoscopic array of styles have all been thrown into the mix over the years - techno, drum and bass, metal, easy listening and Tropicalia to name just five. On top of the exemplary songwriting, the band's amiable, open-minded personality and sense of humour have always been key ingredients in the Super-glue which somehow holds everything together(?).

As should be implied, even the lesser LPs in their back catalogue (there aren't many) are very listenable and expertly constructed. I've seen them live three times (on the Love Kraft, Hey Venus! and Dark Days/Light Years tours) and can confirm that they are a quite brilliant spectacle in the flesh too. If forced to choose, here are my picks for best albums and songs.


TOP 5 ALBUMS

1. Mwng (2000)

It's a shame that this was most noted at the time for the novelty of being the best-selling all-Welsh language album ever (although that's no mean achievement). Beyond the mentions in Parliament etc. lies for me an absolute classic which effortlessly transcends any national barriers on account of its dazzling, heartbreaking melodies and wonderfully simple arrangements. It may be their least extravagant album, but the tunes carried by the pared-down production are astonishing.


The elegant 'Y Gwyneb Iau' (or 'Liverface').


2. Rings Around The World (2001)

At the other end of the scale, this is the band's big-budget, big-statement effort. Some reviewers found the glossier production a bit alienating, but the fearlessly inventive spirit is very much alive underneath.


Early version of 'Presidential Suite' conveniently featuring John Cale on keyboards.


3. Guerrilla (1999)

This was a big leap into foreign territory for the band following the more guitar-based albums that preceded it. It stands as their most varied record, which is saying something! It's so all-over-the-shop that it may not be the best place to start, only because anyone unfamiliar with the band may come away a bit bewildered.


The magnificent video for the 'Do Or Die' single.


4. Radiator (1997)

In a parallel universe, this would be hailed as the finest work of the Britpop era instead of some blokey drivel like Oasis. The 'guitar band' set-up is pushed to its limits here by rampant, imaginative songcraft.


Video for the demented 'Hermann Loves Pauline'.


5. Love Kraft (2005)

Quite an opinion-splitter at the time, this was ostensibly the band's 'lush' album. Not all of it works, but there are some marvellously tuneful peaks to be discovered amidst the luxurious atmosphere.


Fibre optic-clad live version of proggy opener 'Zoom!'.


TOP 10 SONGS

1. Gwreiddiau Dwfn/Mawrth Oer Ar Y Blaned Neifion (from Mwng, 2000)

The title may be a mouthful, but this miraculous track moves gracefully from melancholy acoustic balladry to an intricately beautiful 'motorik' fade.

Outrageously, this doesn't appear to be on HughTube, so here's another Mwng track, 'Nythod Cacwn' (apparently about being attacked by bees).




2. Slow Life (from Phantom Power, 2003)

Although i find the album a bit heavy on filler, this genre-transcending masterpiece has nothing to apologise for - unsung hero Cian Ciaran's finest hour.


The sound's a bit wonky on this live take, but at least you get the Power Rangers helmet!


3. Demons (from Radiator, 1997)

'Forever Changes'-era Love and Burt Bacharach combined to timeless effect.


The video, filmed in Colombia.


4. Northern Lites (from Guerrilla, 1999)

Emerging from that album's electro-chaos comes sunny pop perfection with steel drums and classy vocal harmonies in tow.


A Mwng-era live performance on Later (audio's a bit wobbly again).


5. Receptacle For The Respectable (from Rings Around The World, 2001)

Who else could fit The Beach Boys and Black Sabbath into the same five minutes?


Live from Glastonbury 2007. Should really chew with his mouth closed.


6. Juxtaposed With U (from Rings Around The World, 2001)

The vocoder may have spawned some horrific chart pop in recent years, but this soulful gem almost makes up for it.


A Gail Porter-introduced, mimed performance on TOTP - liking the lectern.


7. Mountain People (from Radiator, 1997)

Affecting protest folk disintegrates into throbbing techno.


Staggering Glastonbury '99 version - the outro's "orangely out of its head"!


8. Ymaelodi A'r Ymylon (from Mwng, 2000)

A seemingly jaunty yet haunting pop melody assisted by more impeccable harmonies.


Another lovely Later performance (wonky audio again).


9. The Very Best Of Neil Diamond (from Dark Days/Light Years, 2009)

The album was an uneven yet admirable attempt to stretch out and jam, but this powerful, electric saz-led groove stands as one of their all-time best.


That artwork is ghastly isn't it?! Bring back the cartoon aliens!


10. Cabin Fever (from Love Kraft, 2005)

Cian demonstrates his hitherto hidden talent for gorgeous Bacharach/Beachies-type euphoniousness - the SFA equivalent of a lost Dennis Wilson classic.


Wonderful sync job with a Max Fleischer cartoon.


11. Run Christian Run (from Rings Around The World, 2001)

As you may be aware by now, 'ten' really means 'eleven' round these 'ere parts, so here's a mesmerising, pedal-steel and melodica-driven bonus track for good behaviour.

JOHN CALE IN BRIEF

His place in rock history may have been sealed all the way back in 1967 with the release of the ridiculously-influential experimental rock masterpiece 'The Velvet Underground And Nico', but John Cale has done more than enough since to secure a position among the greats in his own right as a solo artist. The sheer variety of music on offer in his back catalogue may suggest a 'jack of all trades', but this classically-trained viola player and pianist has rarely shown anything less than mastery of the styles and genres he explores. His music, all the way back to his VU days and even his earlier work with La Monte Young, has often emanated from that fascinating place where beauty and ugliness meet. Pick a Cale solo album at random and it may present one side of the man. There is every chance that your next selection would turn your pre-conceptions 180 degrees. Hell, he's even been known to pull this off within the confines of a single record.

Importantly, he might be playing ornate orchestral pop, or he may well be caterwauling over proto-punk noise, but there's always an intense, even menacing aura which underpins all of his disparate work and gives it an unnerving power which isn't forgotten in a hurry. On top of all of this, there's his seminal production work with artists like Patti Smith, The Stooges and The Modern Lovers, not to mention his jaw-dropping arrangement work on Nico's solo albums.



A heartfelt 90's performance of 'Frozen Warnings' from Nico's Marble Index.


Not all of his work is essential (the 70's was his most consistent decade), but a large portion of it should be recognized as such by anyone looking for an insight into why rock music, in all its myriad forms, developed in the way it did.

Oh, and there was the definitive version of 'Hallelujah', but that song's dead to me now anyway.

Here are a few choice selections, both albums and songs.


TOP 5 ALBUMS

1. Paris 1919 (1973)

One of my all-time favourites, this album simply radiates a spectral warmth. Conveniently, it's probably his most accessible record too, many of the songs drawing upon an orchestral pop sound inspired by the likes of The Beach Boys and early Bee Gees. As is to be expected with Cale, though, there's a lot more going on under the surface, the elliptical lyrics incorporating some fairly dark, disturbing themes and images to fascinating effect.


The graceful 'Hanky Panky Nohow' from Paris 1919 (with a rather odd video to boot!).


2. Fear (1974)

Just one year later and things are starting to get noticeably more angular and menacing musically. There are still plenty of moments of uneasy beauty, but guests like Brian Eno and Phil Manzanera help to create an darker, more agitated atmosphere with some experimental flourishes. This is still pretty approachable on the whole, though.


The warped splendour of 'The Man Who Couldn't Afford To Orgy' from Fear.


3. Songs For Drella (1990)

Both having cleaned up their lifestyles considerably during the mid-80's, Cale and Lou Reed came together again following Andy Warhol's death to create a touching song cycle in his memory. It's a sparse but very listenable affair with an unflinchingly honest emotional current running throughout.


Cale and Reed perform 'Hello It's Me' from Songs For Drella. A nice example of John on viola.


4. Church Of Anthrax (1971)

Cale returns to his minimalist roots with this largely instrumental Terry Riley collaboration. The mix of melodic rock influences and expansive repetition works wonders and is highly recommended to any Krautrock fans out there.


The chaotic title track from 'Church Of Anthrax'.


5. Music For A New Society (1982)

A run of intense, noisy rock LPs is interrupted by this exploratory, brooding work which gets genuinely avant-garde at times. Far from an easy listen, this is still never less than eye-opening, plus there are several moments of more conventional elegance.


A frazzled South Bank Show performance of 'Thoughtless Kind'.


TOP 10 SONGS

1. Paris 1919 (from Paris 1919, 1973)

I'm going to limit myself to just the one track from this album - i could quite happily include at least five in this list.


Delightful full-orchestra take filmed in Amsterdam.


2. Mr. Wilson (from Slow Dazzle, 1975)

I find this album rather inconsistent but its peaks are stunning, such as this eloquent, highly melodic tribute to Beach Boy Brian.


This must have been particularly potent stuff at the time given Wilson's situation. Now it seems highly prescient too.


3. Ship Of Fools (from Fear, 1974)

How Cale manages to create something so lovely from two chords is beyond me.


A nice-enough acoustic version with Nick Cave and Chrissie Hynde, although you don't really get the full effect - the album recording's definitely the best.


4. Taking You Life In Your Hands (from Music For A New Society, 1982)

This album opener combines elegiac music and frankly disturbing lyrics to eerie effect.


Nightmarish yet sublime. It's all about the contrasts.


5. There Was A Saviour (from Words For The Dying, 1989)

This album, which brought together the poetry of Dylan Thomas and Cale's classical background, stands as probably his most underrated moment - this exquisite example is my personal favourite.

Um, unfortunately i can't find this on HughTube, so here's another track from that album, Cale's majestic take on 'Do Not Go Gentle Into That Good Night'.




6. Heartbreak Hotel (from Slow Dazzle, 1975)

One of the finest, most inventive cover versions you will ever hear (a later piano reading is just as revelatory).


Here's a wonderfully demented version featuring Andy Summers (couldn't imagine what the credit card signifies)...


... and here's the rather more sober yet no less fascinating take featuring Richard Thompson, Shawn Colvin and BJ Cole.


7. Mercenaries (Ready For War) (from Sabotage/Live, 1979)

Cale at his most incendiary, this growling rocker is best described as 'horribly compelling'. "500 feet and closing, visibility ZERAAAAAUUUUUGHHHHHHHHH!!!!!"


A particularly deranged 80's live performance featuring Chris Spedding finds Cale (possibly, just possibly under the influence) in classic ugly-yet-brilliant mode.


8. Gideon's Bible (from Vintage Violence, 1970)

Maybe the clearest example of his penchant for mixing melodic loveliness and hideous lyrical imagery ("throttling children carelessly, a messy day with Clancy" indeed).


Genial pop songcraft with a grim twist.


9. Fear Is A Man's Best Friend (from Fear, 1974)

Paranoia pervades this classic, stately piano giving way to churning rock, followed by piano demolition and inimitable, blood-curdling Cale screams to close.


That Island Years compilation in the vid is essential for newcomers (along with Paris 1919 of course).


10. I Keep A Close Watch (from Helen Of Troy, 1975)

A reflective moment from an otherwise unhinged rock album, this was written with Frank Sinatra in mind (a haunted revamp on 'Music For A New Society' is equally essential, bagpipes included).


A perfect solo take from the 'Fragments Of A Rainy Season' DVD. Such a nice boy when the mood suits.


11. Dying On The Vine (from Artificial Intelligence, 1985)

Oh go on then, since you're so nice (whoever you are, i'm sure you're very nice!) - here's an extra track to keep you going. It's fairly typical of Cale to bury one of his finest songs on an otherwise mediocre album ('Wilson Joliet' from Honi Soit being another classic example).


A masterful version performed on the Old Grey Whistle Test.

TEARDROP EXPLODES - COLOURS FLY AWAY (FROM AUSTRALIAN TV, 1982)

This made me laugh on account of its oddball brilliance. Although you can't go too far wrong with a nightshirt and an ammo belt.

HERE WE GO MAGIC IN BRIEF

Just a short one to maintain a bit of momentum - hopefully someone's still reading!

I have to thank my friend Simon for recommending this to me. I first spotted it in
Liverpool's legendary Probe Records, where it came with a borderline-illegible sticker crammed with effusive praise and a list of comparisons with other artists (you don't get that in HMV). Anything likened to Animal Collective/Panda Bear, Ariel Pink, Grizzly Bear and Brian Eno was bound to provoke a bit of interest from me.

All of those comparisons proved to be bang on the money, along with a noticeable Paul Simon influence on the first track 'Only Pieces' which pricked the ears of my Mum. It's a lo-fi album in the most accessible sense of the word - full of warm, swirling splendour, none of that unruly, scratchy noise you get from a Haunted Graffiti record, say. It may be rooted in leader Luke Temple's folk background, but it's also pretty psychedelic at times. Not in a particularly druggy sense, mind - it's just a record that's very easy to get lost in. The hypnotic songs are frequently exceptional too, not least the throbbing acoustic-led beauties 'Fangela' and 'Tunnelvision'. Wonderful waves of overlapping synths, crystalline guitars and vocals make 'I Just Want To See You Underwater' a clear higlight, whilst the sinuous riff and stop-start groove of 'Ahab' are equally effective. A pleasingly baroque anomaly closes the album in the form of the piano and accordion-led 'Everything's Big'. To summarize, it's a great overlooked gem, definitely one of the best of last year (its fuzzy, intimate atmosphere maybe giving it the edge for me over the undeniably impressive yet somewhat stilted 'Veckatimest' for example).

At least it would be if it weren't for the fact that three of its nine songs (one third of the album) consist of middling noise exercises. Such explorations can be worthwhile, but here they just seem to have been added as blatant filler. So, to be more precise, 'Here We Go Magic' was probably the best six-track EP of last year. A full album without the lazy padding could prove to be a minor classic. I'll be very interested to hear of their next move.

Hear here!

R. STEVIE MOORE AND ARIEL PINK'S HAUNTED GRAFFITI IN BRIEF

The first comparison that came to my mind upon hearing R. Stevie Moore for the first time was the 'Fuzzy Warbles' solo demo collection of XTC's Andy Partridge. I'm not sure how familiar readers will be with that particular box set, but the most obvious shared characteristic is their guileless, scattershot approach. Not everything works but there is a clear melodic talent, nay GENIUS at work underneath all the messing about. As an interesting side note, Moore has collaborated with both Partridge and Dave Gregory in recent years. Speaking of melodic geniuses, Brian Wilson is another likeness which occured to me. Not necessarily in his 'Pet Sounds' guise, though - more in his late 70's oddball musical diarist mode as best heard on 'The Beach Boys Love You'. Moore takes a similarly autobiographical approach at times, often to wonderful (and occasionally unsettling) effect. He also makes use of elaborately eccentric arrangements and an idiosyncratic vocal style, both of which may make his work a bit of an acquired taste.

Moore stands as one of the doyens of the lo-fi aesthetic, having amassed an astonishingly bountiful back catalogue of over 400 home-recorded, mostly mail-order albums which date all the way back to the late 1960's. Stylistically, his material is all over the place, from Ramones-type rockers to poignant acoustic fare, 60's-influenced jangle to wonderful synth experiments. That doesn't even begin to tell the whole story, though. As i mentioned previously, the real reason to give him more than a passing glance is the genuine compositional mastery which is on show. As curiously wonky as his music may seem at times, anyone with a bit of theoretical knowledge will be very aware of just how dazzling and complex it can be too.

With such a profuse discography, it's hard to know where to start. Thankfully, i was given an easy way in back in 2008 when Cherry Red released 'Meet The R. Stevie Moore', a superb compilation which provides stunning material and incentive to delve deeper in equal measure (as any good introductory collection should). A follow-up 'Me Too' appeared last year and is well-worth picking up if you liked its predecessor, but may not be the best place to start on account of the inclination towards more experimental material.

As for his albums proper, i'm ashamed to say that i've only heard two in their entirety so far. 1978's 'Delicate Tension' stands as a classic of the auteurist approach, being especially notable for featuring some of his finest (i assume!) gentler material in the form of 'Hobbies Galore', 'Norway' and 'I Go Into Your Mind' as well as numerous odd-pop classics like 'Don't Let Me Go To The Dogs', the deranged 'Goodbye Piano' and 'Cool Daddio'. The previous year's 'A Swing And A Miss' is almost as good, featuring more impeccable pop like 'I Wanna Hit You' and 'New Girl', expansive instrumentals like 'Andrea Bliss' and the joyous sunshine-pop of 'Here Comes Summer Again'. There are also a few interesting trial runs for tracks which eventually appeared in completed forms on 'DT'. Several examples of R. Stevie's work are available as Amazon downloads for those - like me - who might not have the funds for the full mail-order experience.

As should be obvious, i'm fairly new to the guy (i'm thinking of trying out lo-fi landmark 'Phonography' next), but i can confidently recommend him to anyone with a love of well-crafted pop with a unique personality.

Here are a few choice examples to hopefully get you interested (there are plenty of eye-opening RSM vids on YouTube so have look for yourself!).


1. Play Myself Some Music (1986)


Ridiculous period-piece video but the song is little short of astonishing.


2. Goodbye Piano (1975)


"Goodbye Piano made me want to tear out my hair because it is so great, and I never tear out my hair!" - Fan letter from The Residents to RSM.


3. Here Comes Summer Again (1977)


Delightful, affectionate tribute to Moore's love of the Beach Boys and sunshine pop (lead vocal by Roger Ferguson).


4. You Love Me, Do Something (1985)


Wonderfully shambolic groove accompanied by another bizarre video.


5. I Hope That You Remember (1979)


Moore in acoustic-shuffle mode (shades of Syd?).


-------------------------------








I actually got into R. Stevie Moore's work via Ariel Pink's Haunted Graffiti, Pink himself being a vocal champion and an occasional collaborator. Admittedly, after hearing Moore's music, Ariel's work didn't sound quite as mind-bogglingly unique - the influence, though far from overbearing, is unavoidably evident at times, simply by virtue of his similar home recording methods.

Pink has caused quite a stir in recent years since being discovered by Animal Collective and signed to their Paw Tracks label. Critics have been fairly divided in their assessments of his music, some considering it startlingly original, others deeming it a wacky passing fad. When compared with Moore's work, the Haunted Graffiti albums place much more focus on the lo-fi ambience, to the point of it becoming integral to the impact of the songs upon the listener. It's hard to say whether an album like 'The Doldrums' would have been as effective if it had been recorded under normal, hi-fi studio conditions (forthcoming forays into a cleaner recording sound should be revealing).

Ariel's case may not have been helped by the somewhat 'hipster' baggage that has come from being gushed over so much on blogs etc (present company included!). All the debate aside, i would argue that Pink, although not as consistent as RSM, is capable of moments of melodic brilliance - not sure about 'genius', but there are some truly magical bits and pieces to be found on his albums. Frankly, the 'melodic' argument at first seems almost irrelevant when you actually listen to the records - VERY lo-fi, scratchy, chaotic, vocalised drums (or maybe a clattering drum machine if you're lucky), copius yelping. At its best (as on much of 'The Doldrums' and 'House Arrest'), this mix of competing elements inexplicably congeals to stunning effect. Listening to APHG in its finest moments can be an engrossing, disorientating and oddly cathartic experience.

It doesn't work for everyone, though. Pink seems to split opinion like few other artists in recent memory - hell, Van Der Graaf Generator would have a tough time dividing an audience to this extent. Two friends of mine have been 'exposed' to his music - one loved it, another saw him live and literally became distressed and upset! The second example may have more to do with APHG's notoriously inconsistent performances and his provocative on-stage persona (a contrast with RSM's more genial eccentricty), but hopefully it backs up my point. If i'm really honest, there are days when i can't be doing with his music - it's almost as if it requires the listener to be in a very specific frame of mind in order to really extract anything from the aural mush. When i'm in the mood, though, there's little else like it.

It's a perfect name, too - Ariel Pink's Haunted Graffiti. On first listen this music might just sound like a mess daubed onto the tape, but it sticks with you. As i've already mentioned, i personally consider 'The Doldrums' and 'House Arrest' to be his best collections - sharp readers may have noticed that i chose the former as one of my Top 20 Favourite Albums, which may have been slightly overdoing it but my selection was mostly intended as a symbolic gesture of support for the finer end of the lo-fi scene (admittedly RSM's 'Delicate Tension' may have been a more appropriate choice in hindsight). The other three i've heard ('Worn Copy', 'Scared Famous' and 'Lover Boy') all have great moments, but there's a feeling with the latter two that Pink may just have been biding time by filling up space with questionable material from the archives.

Once again, here are a few enlightening selections from YouTube.


1. Hardcore Pops Are Fun (Live)


Great take on 'House Arrest' track. A wonderful song-about-songs and one of his more accessible moments.


2. Strange Fires


A good example of the otherworldly atmosphere that awaits on 'The Doldrums'.


3. Gray Sunset


The video's pretty, erm, distracting, so maybe listen to this 'Doldrums' track with eyes closed first time. Mainly because it's a strangely touching song.


4. She's My Girl (Live)


Another of Pink's poppier moments, this time from 'Lover Boy'. Featuring Cass McCombs.


5. Young Pilot Astray


More splendid fuzziness from 'The Doldrums'.

JACK NITZSCHE - THREE PIECE SUITE

I'm sure most readers will recognize the name above. From his role as one of the key bricklayers(?!) in Phil Spector's orchestral Wall Of Sound perhaps? Or his collaborations with guys like Neil Young and The Rolling Stones? Maybe even his soundtrack work on movies like 'One Flew Over The Cuckoo's Nest'? Anyway, point made, Jack Nitzsche played a pretty major role behind the scenes of some seminal music. On the other hand, relatively little is mentioned about the guy as a solo artist. That's mainly because there weren't many records to speak of, other than the soundtracks of course plus the album thrown together to capitalize on the success of his 'The Lonely Surfer' single.



Buffalo Springfield's 'Expecting To Fly' (featuring strings arranged by Nitzsche).



Nitzsche's only single (i think) 'The Lonely Surfer'.


The 'Three Piece Suite' compilation from Rhino was in print briefly during the years just after his death in 2000. There seems to be little prospect of it being reissued properly, but thankfully it can be downloaded at a very reasonable price from Amazon - at least that's where i picked it up. Now to sell you on it.

The first six tracks are taken from a 1972 orchestral work entitled 'St. Giles Cripplegate', which is also available separately. It's fairly intense, Bernard Herrmann-esque stuff flecked with gentler patches of beauty (especially '#4 (For Mori)'). A very interesting listen not too far removed from the more classically-inclined parts of John Cale's 'The Academy In Peril' (it was in fact recorded in the same church).

Probably the selections of most interest are the next eleven. These previously unreleased songs constitute what was intended to be a proper Nitzsche solo album in the singer/songwriter vein (tentatively titled 'Jack Nitzsche'). This isn't your typical amble through early-70's acoustic folk, though. The most common (and most appropriate) comparison is with the solo work of Brian Wilson's 'SMiLE' collaborator Van Dyke Parks. I'm specifically thinking of of the wildly varied, kaleidoscopic vision of 1967's 'Song Cycle'. For all its myriad wonders - and i'm very much in the 'pro' camp with that particular opinion-splitter - the Parks album does seem to have been directed more at the head than the heart. Although Nitzsche doesn't quite reach the same dazzling heights on his abandoned solo work (being somewhat limited by his voice), there might just be a better head/heart balance here. The compositions fly off in surprising directions to genuinely disorientating effect. A few tracks appear at first glance to be slightly stodgy blues numbers but stick around and you'll suddenly end up caught in a wave of lush, mournful strings or even the pleasing squeal of wine glasses. Highlights include the swaying opener 'Lower California', which unexpectedly breaks down into a heartwarming tribute to the textural elegance of mid-60's Beach Boys, and the dejected slide guitar ballad 'Marie' (featuring John Fahey). Best of all, though, are the impeccably-arranged orchestral pieces 'I'm The Loneliest Fool' and 'Sleeping Daughter', both of which carry enough emotional clout to stand next to the most stirring fare of the period. There's a seemingly endless stream of 'lost classics' emanating from the bustle of the late 60's/early 70's, many of which don't really stand up to the wishful thinking of their well-intentioned supporters. This album contains enough invention and beauty to at least have its day in the limelight - highly recommended!

Four extra tracks complete this compilation, being further demos for this ill-fated project. They're more traditional singer/songwriter fare but they're well worth hearing if you liked the album, not to mention the fact that they sound strangely similar to 90's Americana outfits such as Lambchop and Sparklehorse at times.



Artwork for 'Three Piece Suite' compilation.


I'm genuinely not sure how well-known these recordings are. A simple Google search doesn't bring up a great deal of info or discussion except for the occassional Nitzsche-related site (or niche site, if you will). Anyone with a soft spot for baroque pop, psych pop, orchestral pop, whatever you want to call it, will be surprised by the quality of music on offer here, especially given that most of it never even made it onto the shelves at the time.

Unfortunately, there are no clips from YouTube (another sign of its obscurity?) but two of the best songs can be heard at the Jack Nitzsche MySpace here.

JACK NITZSCHE MYSPACE

MORE INFO ON THE ALBUM FROM ALLMUSIC

BILL FAY IN BRIEF

The weary inner-space wanderer recording Time Of the Last Persecution.



Looking marginally more presentable circa Tomorrow, Tomorrow And Tomorrow.

Championed in recent years by artists as disparate as Jim O'Rourke and Marc Almond, Bill Fay's songwriting has been repeatedly compared to the likes of Nick Drake, Scott Walker, Ray Davies, Bob Dylan and Paul McCartney. To varying degrees, all of those comparisons are legitimate. The important factor, though, is that the quality of Fay's best work doesn't fall far short of these giants, despite the fact that his music was originally all but ignored in the late 60's and early 70's. Even until a few years ago, the most you were likely to have heard from him was the occassional appearance of his early singles on some obscure pysch-pop compilation.

The Walker comparisons are most applicable to his eponymous debut album. This 1971 effort featured touching one-man-and-his-guitar intimacy drenched in orchestral melancholy of a distinctly bucolic, English nature. Where Scott's masterful baritone and grand arrangements were rarely less than a match made in heaven, Fay's wobbly, almost conversational delivery doesn't quite gel with the towering, lush backing. Bear with me though, because this uneasy juxtaposition creates an improbable magic of its own. It almost feels like the strings, horns and assorted embellishments have been added afterwards, at times leaving Bill in an emotive struggle to be heard underneath. There's an odd chemistry going on here which is pretty tough to describe in print. Suffice to say that songs like the relatively low-key 'Be Not So Fearful' (made semi-famous by Wilco) and 'Methane River' are deserving of a much wider audience. This record also features my favourite opening line to an album ever - listen below.



Opener from the debut album, 'Garden Song'.


Less than a year later, 'Time Of The Last Persecution' appeared and it wasn't only Fay's appearance which had undergone a transformation (the previously well-dressed fellow having morphed into a shaggy-bearded prophet on the cover). The music had lost its orchestral accompaniment, now sporting are more recognizably singer-songwriter feel with the odd burst of squalling electric guitar. The 'smaller' sound brings out all manner of shadowy figures, Bill's spiritual ruminations creating a bleak yet engrossing atmosphere. The songs are often spectacular as well, especially the heartbreaking, piano-flecked likes of 'I Hear You Calling', 'Tell It Like It Is' and 'Laughing Man'.



'I Hear You Calling' from Time Of the Last Persecution (see correct, unsettling artwork below).





After that burst of prolific creativity (and non-existent sales), Fay vanished until the late 70's/early 80's when he brought together a group of jazz-orientated musicians (offically The Bill Fay Group) to record a few songs he'd been working on. That's really all the project amounted to, the results being left in storage for decades until 2004 when 'Tomorrow, Tomorrow And Tomorrow' appeared. The album itself is bizarrely interrupted at the halfway point by a handful of lo-fi (though frequently lovely) demos - why they weren't saved for the end i'll never know. Of course, these days we have the technology to re-jig the playing order into its correct form, revealing yet another minor classic. The production reveals it to be a bit of a period piece, but the writing more than makes up for any qualms. A reviewer on Amazon compares the album to The Flaming Lips' 'The Soft Bulletin' and Robert Wyatt's 'Rock Bottom'. This seems reasonable on both counts, the former being evident in the melancholy, existential outlook, the latter in the rippling jazz feel and floating keyboards. I'd also add Dennis Wilson's 'Pacific Ocean Blue' to that mix - although lacking that album's occasional tendency towards grizzly, overblown performances, this record does share a similar ragged beauty and stark lyrical honesty. Fay's music more than stands up on its own, though. It may also be his most varied album sonically, moving effortlessly from the ghostly, piano-led majesty of 'Spiritual Mansions' to the complex, almost proggy textures of 'Planet Earth Daytime'. This might take more time to get into than the earlier LPs, but it eventually reveals itself as arguably the finest of the lot.



'Spiritual Mansions'.



The mesmerising album closer 'Isles Of Sleep'.


Finally (other than a forthcoming new album), there's 'From The Bottom Of An Old Grandfather Clock'. This is a compilation of lo-fi home demos and by nature is a bit uneven compared with the cleaner studio work. Having said that, some of Fay's very finest songs appear here, including the turbulent 'Brighton Beach', the fuzzy rocker 'Maxine's Parlour' and the plain-genius pop songcraft of 'Maudy La Lune' to name just three. A few of the songs from his debut are also featured in pleasingly simple remakes, 'We Want You To Stay' even being revamped as a rousing barroom knees-up.



The brief-yet-lovely 'Strangers In The Fields'.



The revamped 'We Want You To Stay'.


So these are all comfortably four-star albums. Such a cold, mechanical assessment often leads to singer-songwriter efforts like these being heard a couple of times, superficially admired and then stored away at the back of your collection. The key difference with Bill Fay though is that the uniquely disarming personality embedded within his music will, for a select group, lead to his records being cherished like few others.

15 BEACH BOYS/BRIAN WILSON SONGS YOU MIGHT NOT BE SO FAMILIAR WITH

Avec Brian.



Sans Brian.


OK, so i nearly disappeared up my own end writing this Beach Boys thing. Seriously - it was getting on for 10,000 words! So lets make it crystal clear - for the benefit of everyone's psychological well-being, NO MORE EPIC SLOGS! They can't possibly be worth the effort, especially given that, beyond my own opinions, i'm mostly repeating what's already out there in biographies, interviews etc. Plus i can probably do something of more interest with a fraction of the word count anyway. For example, this...

Casual Beach Boys fans might find it a real eye-opener. Others, mainly BW obsessives like myself, might find it borderline patronising ("as IF we hadn't heard the 'Love You' album!"). Then there will be those who couldn't really give a damn about The Beach Boys, which is OK too.

Obviously i've avoided 'Pet Sounds' and 'SMiLE'. I've also stayed away from 'Sunflower' and 'Surf's Up' on account of their recent-ish critical renaissance, but if you ain't got them, you need them!!! Possibly.



Avec Brian, sans Beach Boys.


1. Still I Dream Of It (1976/77)

Written by Brian during his brief return to health during the mid-70's. He's clearly still in disarray (his voice was shot to pieces by coke and smoke), but at least it's leading to some beautiful music.

Here's the home demo...




...and here's the final 'Adult Child' version offered to (but rejected by) Frank Sinatra .




2. All This Is That (1972)

Nothing to do with Brian. OR Dennis! This is the Carl, Al and Mike show and a good example of the kind of jewel that just pops up on otherwise uneventful albums.




3. The Night Was So Young (1977)

My personal favourite from the Marmite album to end all Marmite albums, 1977's 'The Beach Boys Love You', basically Brian's mid-70's musical diary. The production's pretty bizarre but the song underneath is extraordinary.




4. Barbara (1971)

Maybe my favourite Dennis song (although 'Pacific Ocean Blue' REALLY has its moments). Just two pianos, barely-there guitar and a heartbreaking vocal.




5. Solar System (1977)

Further 'Love You' weirdness. Exquisite melody, plus lyrics like "if Mars had life on it, i might find my wife on it".




6. Can't Wait Too Long (1967/68)

Late 60's sketch from Brian. Fragmentary yet astounding bag of ideas.




7. Life Is For The Living (1977)

Oddly rousing swing opener to rejected 'Adult Child' album. "Don't sit around on your ass, smoking grass, that stuff went out a long time ago!".




8. Johnny Carson (1977)

The strangest moment on the deeply strange 'Love You' album. Ridiculous lyrics on top of a heroically idiosyncratic arrangement. (Sorry, poor quality sound on video, just take my word for it!)




9. I Went To Sleep (1969)

Hidden beauty from '20/20'. Soporific in the best possible sense.




10. I'll Bet He's Nice (1977)

Another glistening ballad from 'Love You'. Sure Dennis sounds gruff as hell, sure the synth bass is farting away but THAT SONG!




Plus home demo.




11. Cuddle Up (1972)

Towering Dennis showpiece from 'Carl And The Passions - So Tough'.




12. Little Pad (1967)

From the 'SMiLE' aftermath. Stoned intro hysterics lead into heavenly humming and wistful ukulele.




13. Baby Blue (1979)

Touching Dennis fare from the otherwise-mediocre 'LA Light' album.




14. Sail Plane Song (1968/69)

Brian does haunted psych...




...then it gets smothered in amiable whimsy as 'Loop De Loop'.




15. Time To Get Alone (1969)

Harpsichord-led gem from '20/20'.