John Martyn: Glorious Fool 34 Years On

john-martyn-glorious-foolWEA Records, released September 1981

9/10

Putting together my top 15 album list recently (and a dead laptop necessitating a break from this blog for a while) had an interesting knock-on effect: I actually spent some time listening to my choices.

Glorious Fool was possibly the one that surprised and pleased me the most (I listened to it on the original WEA cassette which sounds miles better than the CD master for some reason).

The general critical consensus is that John Martyn lost his way in the ‘80s, donning the suit, ditching the acoustic guitar and burying his music in synths, soft saxophones and stodgy productions. But it’s an overly simplistic view. I would put Glorious Fool and the previous Grace And Danger (not forgetting 1990’s The Apprentice) right up there with any of his fabled ‘70s stuff.

Certainly his compositions were more musically demanding, but John’s lyrics were still pithy and his chords as dark and rich as ever. It’s just that often he was concentrating on his singing a lot more in this period – no bad thing – and so often delegated the main harmonic accompaniment to a keyboard rather than his guitar. But he still often gave himself ample solo space on his trusty Les Paul or Strat.

John-Martyn24

The ‘80s started fairly unpromisingly for John. He was still in turmoil over the breakup with wife Beverley, and the release of his classic Grace And Danger album had been delayed for 18 months, Island Records label boss Chris Blackwell believing it to be terminally uncommercial.

It was finally released in June 1980 to excellent reviews and reasonable sales but it was the straw that broke the camel’s back as far as John’s relationship with Island was concerned.

His new manager Sandy Roberton got him a deal with Warner Brothers and also helped put together a cracking new band including ex-Jeff Beck keys player Max Middleton, Latin percussionist Danny Cummings and hotshot Glaswegian bassist Alan Thomson.

Martyn’s mucker and partner-in-heartbreak Phil Collins also returned on drums and production. John said at the time, ‘I wasn’t married. I thought: let’s go for it, let’s make some money and make a band.’

In June 1981, they all convened at the Townhouse Studios on the Goldhawk Road, Shepherd’s Bush, West London, to commence work on Glorious Fool. During the recording, John was living in the small apartment above the studio, and would often undertake vocal duties in the wee hours of the morning, slightly the worse for wear and clad only in his dressing gown!

I live about 15 minutes’ walk away from the Townhouse – sadly not in use as a commercial studio any more – and often walk past trying to picture the proceedings. Other classic albums recorded there include Peter Gabriel’s Melt, Collins’ Face Value and XTC’s Black Sea.

It’s clear that John’s failed marriage is still very much the emotional currency of his songwriting. ‘Pascanel (Get Back Home)’, ‘Hearts And Keys’ and ‘Please Fall In Love With Me’ are almost embarrassingly candid in their evocation of the contrasting emotions spawned by a relationship breakdown, everything from pure love and raw lust to rage, despair, envy, pleading and desolation. Just a typical evening with John Martyn then, by all accounts…

The furious ‘Never Say Never’ kicks off with Martyn screaming ‘Shuddup! Close your mouth!’ over Collins’ trademark tom fills. Brilliant. ‘Perfect Hustler’ and ‘Didn’t Do That’ are more comic evocations of lost love, the former featuring Martyn sarcastically taunting his paramour about her suave, Latin-dancing boyfriend, and wondering if he has ‘gold teeth in’! In contrast, ‘Hold On My Heart’ is an unashamedly soft, romantic love song, the nearest the album comes to an early ’80s Collins or Genesis ballad.

Elsewhere, ‘Don’t You Go’ is a heartbreaking anti-war folk ballad, with John’s moving vocal accompanied only by Collins’ piano and ghostly vocoder. The title track takes a satirical look at the then-newly-elected president Ronald Reagan while ‘Amsterdam’ is a harrowing portrait of a close friend’s funeral in the Dutch capital (after an unrequited obsession with a local prostitute). It features a nasty, brutal groove, sort of John’s version of post-punk, and the haunting refrain: ‘The night the kid left Amsterdam…’ It’s the ‘80s flipside to ‘Solid Air’, another tribute to a fallen comrade (Nick Drake).

Another reason for Glorious Fool’s success is the sheer quality of the musicianship. Collins has never played better, coming up with three or four classic beats and demonstrating a perfect understanding of what each song requires, and the whole band can turn on a dime. They’re just as comfortable with the Weather Report-style Latin/fusion groove of ‘Didn’t Do That’ as they are with the slinky Little Feat flavours of ‘Couldn’t Love You More’, driving hard rock of ‘Amsterdam’ or ambient balladry of ‘Please Fall In Love With Me’.

The album was a reasonable success, hitting number 25 on the UK album charts and staying in the top 100 for seven weeks, and the critics were generally onside. It also made for a very interesting companion piece to Collins’ Face Value, released six months before. You don’t need me to tell you which record sold more copies, but I doubt John lost much sleep over it.

For much more about Glorious Fool and John’s stellar career, check out ‘Some People Are Crazy’ by John Neil Munro and also this excellent BBC4 documentary.

Advertisements

My Top 15 Albums On The 18th (With Sicknote)

vinyl-goldTo quote Bill Hicks, I must have missed a meeting, hence my embarrassingly-late contribution to the bloggers’ ‘top 15 albums on the 15th September‘ concept (my laptop also gave up the ghost just when I was trying to get it in under the wire).

But like a lot of music fans, I can’t resist a list, so here’s my top 15 as of today. I set myself a few guidelines: only one artist per slot, no dud tracks, no compilations, and some kind of stylistic variety on offer across the selection; in other words, I thought of the 15 albums as a kind of extended desert-island playlist.

So here we go, in no particular order. Click on each cover for a listen:

Lewis Taylor: Lewis Taylor (1996)

taylor-lewis-lewis-taylor

The Beatles: Sergeant Pepper’s Lonely Hearts Club Band (1967)

original_460

Roxy Music: Avalon (1982)

roxy

Steely Dan: Gaucho (1980)

steely

Peter Gabriel: III (1980)

peter gabriel

Weather Report: Mr Gone (1978)

weather report

XTC: Skylarking (1985)

xtc

Cocteau Twins: Heaven Or Las Vegas (1990)

cocteau_twins-heaven_or_las_vegas

David Sylvian: Gone To Earth (1986)

David sylvian

Sly And The Family Stone: There’s A Riot Goin’ On (1971)

sly

Tribal Tech: Illicit (1992)

Tribal_Tech_Illicit_album_cover

Stanley Clarke: Stanley Clarke (1974)

Stanley_Clarke_-_Stanley_Clarke

Herbie Hancock/Freddie Hubbard/Wayne Shorter/Ron Carter/Tony Williams: VSOP The Quintet (1979)

vsop

John Martyn: Glorious Fool (1981)

john-martyn-glorious-fool

Scritti Politti: Cupid And Psyche ’85 (1985)

scritti

Just missed the cut:

Grace Jones: Nightclubbing (1981)

Prince: Around The World In A Day (1985)

Mr Bungle: California (1999)

It Bites: Once Around The World (1988)

Mark Isham: Vapour Drawings (1983)

Prefab Sprout: Jordan The Comeback (1990)

Michael Jackson: Thriller (1982)

Level 42: World Machine (1985)

Thomas Dolby: The Flat Earth (1984)

John McLaughlin/One Truth Band: Electric Dreams (1979)

Miles Davis: Nefertiti (1967)

Love And Money: Strange Kind Of Love (1988)

David Bowie: Scary Monsters (And Super Creeps) (1980)

Thelonious Monk: Genius Of Modern Music Vol. 2 (1951)

 

David Bowie’s Scary Monsters (And Super Creeps): 35 Years Old Today

bowieRCA Records, released 12th September 1980

10/10

‘Albums of the ’80s’ lists are all the rage these days. Scary Monsters (And Super Creeps) would easily be in my top five. It might even be in my top one. It’s a timeless, masterful work which, for me, can only ever be consumed in its totality. It’s also the collection that all subsequent Bowie albums have been measured against. I would put it over and above Low, Ziggy Stardust and Hunky Dory for its sheer consistency.

ScaryMonstersBackCover

Here’s my case for the defence, track by track:

1. It’s No Game (Part 1)

I’ve previously written about this being one of the great ’80s album intros. Vocally, Bowie channels John Lydon and Peter Hammill to deliver a New York/New Wave anti-fascist tirade that ranks among his great performances. Producer Tony Visconti ‘f***s with the fabric of time‘ to create a cavernous, Eventide-drenched mix and guitarist Robert Fripp delivers one of his most unhinged statements. Avant-rock heaven. Adapted from Bowie’s early demo ‘Tired Of My Life‘.

2. Up The Hill Backwards

A brilliant treatise on press intrusion and the wretchedness of celeb culture inspired by Bowie’s ‘dealings’ with the press during his failing marriage, with an ingenious central image of paparazza snapping away at their prey as they shuffle ‘up the hill backwards’. Endlessly catchy with a beautifully-realised unison vocal – the only track in the Bowie canon which doesn’t feature his solo singing.

3. Scary Monsters

Bowie revisits his finest Mockney accent to deliver a bleak, blanked-out, darkly funny tale of semi-stalking. There’s more Phil Spector-style brilliance from Visconti and another Fripp masterclass in balls-out guitar playing. The only minor criticism is that it possibly goes on for about a minute too long.

4. Ashes To Ashes

An instant classic with a very Bowie mix of child-like innocence and creeping malevolence as the hopelessly drug-addicted, world-weary Major Tom drifts off into the ether. Effortlessly superb songcraft with three or four memorable sections, boundary-pushing lyrics (‘Visions of Jap girls in synthesis’!) and a myriad of sweeping hooks.

5. Fashion

The lameness of the style wars is in Bowie’s sights this time as he almost mumbles the ironic verse lyrics over a tough New York disco/funk/rock groove. And there’s more barking mad Fripp soloing. Danceable, amusing, timeless. Originally titled ‘Jamaica’ in demo form.

6. Teenage Wildlife

Initially coming across as slightly lumpy and leaden, the track builds and builds in intensity to deliver a powerful message to Bowie’s ‘mythical younger brother’ about keeping a sense of perspective as one gets older. His patented ‘histrionic’ vocal style is superbly realised and drummer Dennis Davis holds it all together with aplomb. Originally titled ‘It Happens Every Day’ in demo form.

7. Scream Like A Baby

Spooky dystopian fable about a future society’s outlawing of homosexuality and other ‘deviant’ behaviour. Bowie’s ingenious stuttering provoked many a schoolyard titter and the weird vocal doppler effects are perfectly realised. Revamped from the Bowie-written/produced ‘I Am A Laser‘ originally recorded by Ava Cherry/The Astronettes.

=bowie

8. Kingdom Come

A superb cover of a track from Tom Verlaine’s debut album, Phil Spector is the obvious influence again with Davis’s booming, overdubbed tom fills and some anthemic, reverb-drenched backing vocals. Majestic, powerful, intriguing. Verlaine was apparently supposed to play guest guitar throughout the album but bowed out at the eleventh hour.

9. Because You’re Young

An ‘advice’ song to his son, Bowie offers the lessons he has learnt and looks back with great poignancy and not a little sarcasm on his carefree, youthful days. Peter Townshend strums along (apparently he arrived at the studio drunk and ready to party, but was stunned to find Visconti and Bowie sitting quietly at the recording desk like ‘two sober, little old men’!) and Bowie delivers a superb, kaleidoscopic lead/backing vocal combo.

10. It’s No Game (Part Two)

Carlos Alomar’s masterly rhythm guitar anchors this reprise, with Bowie doing his best Iggy croon and offering up images of world poverty, media saturation and dunderheaded political/cultural strategies. We hear the multitrack tape spool off its reels at the very end to close one of the great albums of the ’80s or any other decade.

A big nod to Nicholas Pegg.

Miles Davis’s You’re Under Arrest: 30 Years Old Today

miles

Columbia Records, released 9th September 1985

8/10

My love for Miles’s music was just getting into its stride when this album hit. As a teenage jazz/fusion fan and burgeoning muso, 1983’s Star People caught my ear but it was You’re Under Arrest that really captured my imagination. Everything about the package was designed to be provocative, from the garish cover design to the in-your-face but always funky music.

It’s a far more colourful and multi-layered listen than the previous year’s Decoy album partly because Miles was going public with his views on police intimidation, racism and the nuclear threat for the first time (and also getting involved with the anti-apartheid movement on the Sun City project). In the era of ‘We Are The World’, even Miles was demonstrating that he had a social conscience, but he used black humour and an uncanny ear for a gorgeous melody to make his points.

Between 1981 and 1984, the primary musical style of Miles’s comeback had been so-called ‘chromatic funk’, a hard-driving, minimalist style consisting mainly of one-chord vamps, heavy bass lines, frantic Latin percussion and fleet-fingered melodic heads, usually played by sax and guitar in unison (and more often than not based on transcribed John Scofield guitar solos).

milesBut in early 1984, Miles took his band into New York’s Record Plant studios to record a whole host of pop and AOR tunes, including ‘Wild Horses‘ by Nik Kershaw, Tina Turner’s ‘What’s Love Got To Do With It’, Dionne Warwick’s’ ‘Deja Vu‘, Michael Jackson’s ‘Human Nature’ and Cyndi Lauper’s ‘Time After Time’.

Though of course Miles was by no means new to recording pop songs, it’s doubtful whether any of these were anywhere near the calibre of ‘My Funny Valentine’ or ‘It’s Only A Paper Moon’. Various 1985 band members have since expressed their dissatisfaction Miles’s ‘pop’ direction and it’s telling that only ‘Time After Time’ and ‘Human Nature’ made the cut for You’re Under Arrest (and, to be fair, became centrepieces of his live gigs until the end of his life). The other covers are yet to see the light of day.

By all accounts, the album eventually came together very quickly and just under the wire; Miles took his band into the studio and re-recorded much of the 1984 material over a very short period in January 1985, later saying that the tempos had been wrong on the original takes and that they didn’t have enough punch.

miles-davis-youre-under-arrest-vinil-importado-zerado-13798-MLB3377978960_112012-OThe opening ‘One Phone Call/Street Scenes’, with its sound effects, darkly-comic spoken-word shenanigans (‘Smokin’ that marijaroney’!) and fleet funk, is the kind of thing you might expect from Prince or George Clinton, but not the most famous jazz artist in the world. The track was surely a big influence on Prince’s Madhouse project and also B-sides such as ‘Movie Star’.

John McLaughlin delivers an exciting modal guitar blowout on ‘Katia’ (named after his then wife the pianist Katia Lebeque) finding endless lines to play over the one-chord vamp. Despite the dated Simmons drums and synthesized horn blasts, the track is still gripping and dramatic after all these years. Ditto the title track, the ultimate take on ‘chromatic funk’. The ‘Jean Pierre/And Then There Were None’ medley is also arresting with its eerie sound effects and childlike celeste. Listen out for Miles’ mordant closing remark too, intended either for Reagan or recording engineer Ron Lorman (or both?).

The only tracks I really can’t take are the two ‘pop’ ballads, ‘Time After Time’ and ‘Human Nature’. Although the latter became a really powerful live number, Miles’s playing is fairly underwhelming and the arrangements don’t add anything to the originals. But, in general, You’re Under Arrest is a really strong album and quite a stunning statement from a 59-year-old ‘jazz’ musician.

Watching footage of Miles playing live in 1985 shows what an extraordinary presence he still was – stalking the stage, sometimes whispering into his bandmates’ ears, sometimes throwing mock-right-hooks towards the camera lens – coupled with possibly his best trumpet chops during the last decade of his life.

Jazz, Clicks And Synths: Steps Ahead’s Modern Times

Steps-Ahead-Modern-TimesElektra/Asylum, released July 1984

7/10

Michael Brecker

Michael Brecker

Any budding sax player of the ’80s was learning Michael Brecker licks. Jazzers loved his post-Coltrane superchops and forensic exploration of every chord. Funk and pop fans loved him because he could play absurdly-tight horn arrangements with his trumpet-playing brother Randy and also solo superbly over vamps, finding endless melodic ideas in the simplest two-chord changes.

He was surely the only sax player who could play comfortably with Kenny Wheeler, Parliament and Everything But The Girl. It has to be said that most hardcore jazz purists were intrinsically suspicious of this, but who cares what they think…

Brecker formed Steps Ahead (originally Steps) with fellow New York masters vibraphonist Mike Mainieri and bassist Eddie Gomez, put together initially for the Japanese market. Steve Gadd was their original drummer, replaced in the early ’80s by Weather Report man Peter Erskine.

Steps Ahead’s self-titled debut album showcased a mostly-acoustic fusion sound, but the follow-up Modern Times embraced all sorts of ’80s technology to intriguing effect. Of course such tinkering opens it up to sounding somewhat dated these days, but at least the album has ambition, quality compositions and the kind of attention to detail that makes it an interesting companion piece to key mid-’80s works like The Flat Earth, Hounds Of Love, Boys And Girls and So.

Opener ‘Safari’ kicks off with a vaguely Caribbean/reggae groove featuring a multitude of synths and sequencers and a tribal, almost Zawinulesque melody. With repeated listens there are many pleasures to be found; Brecker’s typically incisive tenor solo, Erskine’s subtly-building groove work, the slinky bass line which rumbles on throughout.

Equally arresting is pianist Warren Bernhardt’s title track, a modal piece built over another serpentine, sequenced line, developing into a series of lovely vignettes featuring Brecker’s solos and some very Steely Dan-ish chord progressions. Mainieri’s composition ‘Old Town’ features King Crimson/Peter Gabriel sideman Tony Levin playing some menacing Stick over the sort of exotic, ambient groove Bryan Ferry would utilise on Boys And Girls a year later. And ‘Radio-Active’ taps into some of the World vibes Peter Gabriel investigated throughout the ’80s.

Unfortunately a few tunes let the side down, drifting uncomfortably into smooth jazz territory. Mainieri’s composition ‘Self Portrait’ is almost saved by a lyrical Brecker solo but far too saccharine for my tastes, while Erskine’s ‘Now You Know’ features a melody line (Brecker on soprano) which, though memorable, veers scarily towards Kenny G.

And it has to be said that Eddie Gomez’s role in the band was diminishing very fast, so anonymous is his contribution. He would be gone by the next album Magnetic, replaced by ex-Weather Report man Victor Bailey.

In Modern Times‘ liner notes, Peter Erskine thanks someone for their help with click tracks, and that concept in itself would probably turn off a big section of the ‘jazz’ audience. But some arresting compositions, tribal grooves and typically tasty Brecker solos ensure that one’s attention never strays for long. Modern Times is a key jazz album of the ’80s, albeit one that would probably have given most of the Young Lions nightmares…