Bruford: One Of A Kind Revisited

In the late 1980s, some ‘long-lost’ cult tracks took on almost mythical status amongst my musician friends and I.

There was Frank Zappa’s ‘The Black Page’, Rush’s ‘YYZ’ and ‘La Villa Strangiato’, UK’s ‘In The Dead Of Night’ and Bill Bruford’s ‘Five G’ and ‘Travels With Myself And Someone Else’.

Guitarist Allan Holdsworth, who died four years ago today, of course featured on the latter three tracks (he originally came to my attention when It Bites’ Francis Dunnery waxed lyrical about him in a 1989 Guitarist magazine interview).

Pre-YouTube and Spotify, the problem was that you just couldn’t get hold of this stuff (even though it was barely ten years old!). So it was a thrill when I finally tracked down a copy of Bruford’s One Of A Kind album – featuring ‘Five G’ and ‘Travels With Myself’ – sometime in the mid-1990s.

And now this landmark collection has received the posh reissue treatment, as part of a box set or as a double CD set featuring a new stereo remix, carried out by Bruford and Level 42/King Crimson guitarist Jakko Jakszyk, and a DVD containing the remastered original mix and a new surround-sound mix.

You could argue that the album is the most complete work by all of the participants. Recorded at Soho’s Trident Studios, One Of A Kind was released on the cusp of the 1980s and pointed to where all the four members’ music would take them in the new decade.

There’s no quantizing here – it’s music that breathes (check out the ‘bendy’ time on ‘Hells Bells’, ‘Travels’ and the title track) played by empathetic, truly virtuosic musicians.

But is it rock, jazz, prog or fusion? Who knows, but it’s some of the greatest British instrumental music of all time.

Bruford stuns with one of the tightest drum sounds on record – whipcrack snare, cutting Rototoms – with great phrasing and ideas, some fantastic tuned percussion (marimba, xylophone) and excellent compositions. Bassist Jeff Berlin is an astonishing talent – logical, inventive, technically perfect but never boring.

Dave Stewart (not to be confused with David A Stewart of Eurythmics) is a revelation, layering superbly with his new Prophet 5 synth and adding some effective solos. The liner notes report Holdsworth returning to the studio after a break, hearing Stewart overdubbing on ‘Travels With Myself’ and finding himself in tears.

For his part, Allan was by all accounts rather unhappy during the recording, but delivers brilliant, moving solos, particularly on ‘Travels’ and ‘Sahara Of Snow Part 2’. He also contributes the excellent composition ‘The Abingdon Chasp’, apparently named for a beloved brand of real ale.

Then there’s the resplendent ‘Fainting In Coils’, complete with the ‘Alice In Wonderland’ excerpts and tricky time signature which sounds completely natural in Bruford’s hands.

But how does the new remix sound? First, the good news: the title track, ‘Fainting In Coils’ and ‘Hells Bells’ sound fresh and thrilling; it’s like hearing them for the first time.

But now the bad news: ‘Travels’ inserts some new Stewart solo licks, inaccurately mutes some of his synth pads and then inexplicably mixes his acoustic piano way down and drenches it in muddy reverb (though Holdsworth’s comping is brought forward in the mix).

Then there’s ‘Five G’ – it’s mixed totally dry, with all reverb removed, again with Stewart’s keys too low and Berlin’s bass too high and too ‘middly’.

And the packaging? Sid Smith’s liner notes are excellent, with some lovely, previously-unpublished photos from rehearsal rooms and pub gardens (both in Kingston, Surrey!).

But there’s no sign of the tracklisting or song/composer credits on the digipack – you have to search around for the inner pamphlet to find the details printed in the middle, so quick reference while listening is not easy.

Still – even if the remix is patchy (I can’t comment on the surround mix), the whole package is well worth getting. Any excuse to celebrate a classic album and brilliant band, and a rich voyage of discovery if you don’t know this music.

One Of A Kind Expanded & Remixed is available at Burning Shed.

40 Years Of Memorable Movie Moments

Hammersmith Odeon circa 1983

Maybe it was the lockdown popcorn, maybe a great recent piece in Empire magazine initiated by director Edgar Wright, but this time away from the cinema has got me waxing all nostalgic.

Will the big screen ever regain its mojo? The alternative is a crushing thought.

Don’t know about you, but my idea of a night out at the flicks doesn’t involve wearing a mask and showing a security guard my vaccination certificate at the door. If that’s the future of moviegoing in Brave New Britain, forget it, I’m done.

And whatever the merits of Netflix et al, they can’t replace the shared experience watching a superb movie on a big screen with great sound and those ‘wonderful people out there in the dark’ (© ‘Sunset Boulevard’).

So, if it’s all over – and I hope it’s not – here are some memorable movie moments of the last 40 years (all in London cinemas unless otherwise stated), from the sublime to the shocking (with spoilers…). I hope they inspire some recollections of your own.

Seeing ‘The Exorcist’ at a cinema above a nightclub in Kingston circa 1989, me absolutely terrified as Salt-N-Pepa’s ‘Push It’ was heard pulsating through the floorboards… The entire audience laughing throughout ‘Prince Of Darkness’ (it’s supposed to be a horror movie…) at the Hammersmith ABC circa 1987… A late-night screening of ‘Carrie’ at the Prince Charles circa 2012, the young, hip crowd jumping three feet out of their seats upon the famous finale…

At the same venue circa 1994, a ‘lone white male’ saying very loudly, apropros of nothing: ‘What a f***ing bitch’ as the credits rolled at the end of ‘The Last Seduction’ (it’s a female-fronted, neo-noir)… Almost having an out-of-body experience as Jeff Bridges walked through the plane at the end of ‘Fearless’ at the Prince Charles circa 1994… The ripples of hilarity echoing around the cinema during Michael Wincott’s cracking cameo as Kent in ‘Talk Radio’ at the Riverside Hammersmith circa 1988…

Spooked amongst the drinking/smoking audience during ‘The Blair Witch Project’ at the Notting Hill Coronet in 1998… The quietest, most rapt audience ever for Orson Welles’ ‘The Trial’ at the BFI (formerly NFT) in 2019… Audience hilarity during Hugh Grant’s performance in ‘Bitter Moon’ at the Prince Charles circa 1994… Early cinema revelations, seeing ‘Jaws’, ‘Close Encounters Of The Third Kind’, ‘Airplane’ and ‘Raiders Of The Lost Ark’ between 1980-1982… Seeing ‘Rain Man’ two nights in a row at the Richmond Odeon in 1988… The ‘Star Wars’ triple bill at the same venue circa 1985… A Laurel & Hardy all-dayer at The Kings Cross Scala circa 1988… Terrified watching ‘Scream 2’ on my own in a huge moviehouse in Times Square, NYC, the only other paying customer deciding to sit directly behind me… Meeting David Lynch – and getting his very odd autograph – after a screening of ‘The Straight Story’ at the NFT in 1999… Seeing ‘Fame’ at a huge, almost completely empty Hammersmith Odeon circa 1983… Not hearing one line of dialogue during ‘Fletch’ as the assembled teens screamed/laughed/threw food at the screen, Putney Odeon, 1985… Panic and nausea at the finale of ‘The Vanishing’ at a late-night screening at the Ultimate Picture Palace in Oxford circa 1991… Watching JG Ballard and David Cronenberg chatting amiably onstage after the London premiere of ‘Crash’ at the NFT, 1996… Sitting behind a constantly laughing Jimmy Page at a screening of ‘Beware Of Mr Baker’, the Riverside Hammersmith circa 2012… Seeing ‘Heathers’ at the same venue in 1989 and thinking: well, that’s almost the perfect film… Feeling the whole packed house take an inward breath as the body crawled out of the TV set during ‘Ringu’ at the ICA, 1998…and…and…?