Reissue CDs
Kieron Tyler
“When I was singing at my best, I was the essence of English song. And that was all I ever really wanted.” It’s said without pride and in a matter-of-fact manner. The speaker is Shirley Collins in the documentary The Ballad of Shirley Collins. Issued on DVD in a package with a CD collecting music which defines parts of her world, the film tracks a person balancing certainty about who she is and was with an enviable level-headedness.The Ballad of Shirley Collins is also issued as an album – a quasi-soundtrack of the film. But the version to get is the book-bound CD/DVD configuration Read more ...
Kieron Tyler
The press ad for Spirit’s debut album wasn’t shy. “Five came together for a purpose: to blow the sum of man’s musical experience apart and bring it together in more universal forms. They became a single musical being: Spirit. It happens in the first album.” Of the band’s bassist Mark Andes, it declared “the strings are his nerve endings”. Drummer Ed Cassidy apparently “hears tomorrow and he plays it now”.Now was February 1968 and such hyperbole would have been baseless if the band being bigged-up wasn’t special. As it happened, Spirit actually were. Their eponymous album was packed with great Read more ...
Kieron Tyler
This column last encountered Cocteau Twins in 2015 when the compilation The Pink Opaque and the Tiny Dynamine/Echoes in a Shallow Bay album, which collected two EPs, were reissued on vinyl only. Now, it’s the turn of two albums-as-such: 1983's Head Over Heels and 1984's Treasure.The overriding question from then still applies: neither record is rare in its original form and neither fetches a high price. The reissues sell for around £17. Decent-shape first pressings fetch £3 or £4 less than that. Why would anyone buy a vinyl reissue of either?And, upending a review’s normal structure, the Read more ...
Kieron Tyler
The similarity is intentional. The cover design of When the Day is Done – The Orchestrations of Robert Kirby nods explicitly to that of Nick Drake’s debut album Five Leaves Left. That wasn’t just the first record by the singer-songwriter, it was also first time most people heard Kirby’s string arrangements. He and Drake had been friends at Cambridge University. The album’s producer Joe Boyd commissioned arrangements by Richard Hewson but Drake rejected them and the call was made to Kirby, who had already worked with him live.For Kirby, this was the beginning of a career which flourished until Read more ...
Kieron Tyler
“That colourful character Zoot Money has recently been writing at length in support of psychedelic music. Now, what’s the score Zoot, has it got a contribution to make to the scene?” It’s 14 January 1967 and BBC presenter Brian Matthew is putting his guest on the spot.“I think so,” responds Money. “It’s an art form. Everything has to be broken open and seen in as many different ways as possible. I suppose that’s why we’re here, to break it open and find out what’s inside, that it was there all the time.”Six months later, Money announced the break-up of his group the Big Roll Band and Read more ...
Kieron Tyler
What is music? When pondering archive releases, compilations and reissues the question doesn’t come up. Knowledge of context and history means there’s never a need to muse on this fundamental issue. A package, say, dedicated to Northern Soul says what it is and the prime considerations are how well it has been executed and defining its place in the relevant narrative. The same applies to anything previously covered in this column.However, the release of the Voyager Golden Record raises this concern. Twenty-seven pieces of music are collected, ranging from a Navajo Chant to part of Beethoven’s Read more ...
Kieron Tyler
During the British Invasion years, a Cleveland, Ohio band called The Choir ploughed a Brit-focussed furrow from late 1964. Initially and tellingly, they were named The Mods. Their prime mover, Dann Klawon, was a subscriber the switched-on UK monthly Rave, had missed a Mods show to hitch-hike to a Rolling Stones concert and was the first Clevelander to own a copy of “Purple Haze”. His band became The Choir in 1966, played on Who and Yardbirds’ bills, and went through continuous line-up changes. Even so, they issued three singles over 1966 to 1968 beginning with the classic “It’s Cold Outside Read more ...
Kieron Tyler
For Britain, 1965 began with The Beatles’ “I Feel Fine” at the top of the single’s chart. In December, the year bowed out with their double A-side “Day Tripper” / “We can Work it Out” in the same position. But 1965 was not just about The Beatles.According to the writer Jon Savage, “1965 was the year of Dylan, folk-rock and protest, and the year when the post-beat bohemian subculture took over from traditional showbiz as the principal youth culture. Suits and group uniforms were out: denim, suede and long hair in. It was also a vintage Motown year. It wasn’t like an Austin Powers film, with a Read more ...
Kieron Tyler
In 1976, when his first solo album Slippin’ Away was released, Chris Hillman could look back on being a founder member of The Byrds and The Flying Burrito Brothers, two of America’s most important bands. He had also played alongside former members of Buffalo Springfield in Manassas and The Souther-Hillman-Furay Band. Before any of this, Hillman was in the bluegrass-inclined Scottsville Squirrel Barkers and The Hillmen. Issuing an album under his own name was new. Slippin’ Away was issued when he was only 32.Slippin’ Away was followed-up in 1977 by Clear Sailin’. Both were issued by Asylum Read more ...
Kieron Tyler
“I’ve been labelled as an angry young man / Because I don’t fit into the master plan / Under society’s microscope / I look funny but it’s no joke.I’m a social end product so don’t blame me / I’m a social end product of society / It’s not my fault that I don’t belong / It’s the world around me that’s gone all wrong.”Delivered with snot-nosed venom, the lyrics of The Bluestars’ December 1966 single “Social End Product” rail against the perceptions fostering the them-and-us generation gap. The music is suitably tough, defined by an insistent fuzz guitar riff and pounding drums. Wherever it’s Read more ...
Kieron Tyler
How much of someone else’s despair is it possible to take? What are the limits on putting a sense of desolation or isolation into a song? Can such naked expression be mediated by a glossy production or crowded instrumental arrangements which distract from the core essence of the song?All three questions are raised by the new Television Personalities archive release Beautiful Despair. Rather than being an unreleased album, it is a collection of 15 previously unheard home recordings taped in 1989 and 1990 between the albums Privilege (1989) and Closer to God (1992). This was a period of Read more ...
Kieron Tyler
The critic Simon Reynolds characterised Butterfly Child’s debut album Onomatopoeia as the sound of “vitrified everglades in J.G. Ballard’s The Illuminated Man, where some kind of entropy has slowed down time, so that living creatures are literally petrified, encrusted and crystal.”Such circumlocution was unsurprising as Onomatopoeia was originally issued by Rough Trade in August 1993 during a between-time moment for independently minded pop. Britpop hadn’t yet taken off, grunge was a clichéd bandwagon and the first flush of shoegazing had run its course. It hit shops around the same Read more ...