Friday, 22 June 2018

LINER NOTES: TAKE A RIDE [2013]






1.    Swim and Sleep (Like a Shark) – Unknown Mortal Orchestra
2.    Let England Shake – PJ Harvey
3.    Over the Ice – The Field
4.    Tugboat – Galaxie 500
5.    You Made Me Realise – My Bloody Valentine
6.    Who Do You Think You Are Kidding Mr. Hitler – Wild Billy Childish & The Blackhands
7.    Take a Ride – The Questions
8.    Damaged Goods – Gang of Four
9.    Stardust – Billy Ward and His Dominoes
10.  El Toro – Chico Hamilton
11.  I Put a Spell on You – Screamin’ Jay Hawkins
12.  Tramp – Lowell Fulsom
13.  Come on In – The Music Machine
14.  Como El Agua – Camaron de la Isla y Paco de Lucia
15.  National Shite Day – Half Man Half Biscuit
16.  Ingenue – Atoms for Peace
17.  FFunny FFriends – Unknown Mortal Orchestra
18.  Flowers – Galaxie 500
19.  Swing Easy – The Soul Vendors
20.  Late in the Evening – Paul Simon
21.  Every Picture Tells a Story – Rod Stewart


Bouldering is indoor climbing utilising plastic holds, without ropes; you’re never so high off the ground that a deep crash mat won’t do should you fall. I bouldered at The Arch before they were kicked out of their premises by British Rail. They then moved to a warehouse in Bermondsey called The Biscuit Factory. This was a great shame, but London Bridge station was to be expanded, and now has been.
Contrary to the music those loons at the Vauxhall Climbing Centre like to subject their clientele to, at The Biscuit Factory they normally do all right, and it was there that I came across Unknown Mortal Orchestra. They had released two albums at this point: an eponymously titled work and II. Both are represented here. Swim and Sleep (Like a Shark) is taken from their second record. It works well as an opening track, although it isn’t used as such on the album. The music has been deliberately recorded to sound like the psychedelic records it takes inspiration from. That is to say, it sounds like you’re listening to it through an old Dansette record player, even though you’re more than likely not.

When I first became interested in indie music, PJ Harvey was one of the artists introduced to me. She was, compared to now, relatively unknown – this was around the time of her second album, Rid of Me – and the approaching juggernaut that was Britpop suggested it might remain that way. Instead, just as Britpop was nearing its critical mass – early 1995 – she released To Bring You My Love, which was a success critically and to some degree commercially. And whilst bands like Suede, Radiohead and The Verve would be conveniently co-opted into the Britpop movement, once it had established itself, PJ Harvey stood apart. She was succeeding on her own terms, and Britpop’s sustainability was not her concern.
I took note of all this but PJ Harvey’s next album, Is This Desire, released in 1998, eluded me. Her fifth, Stories from the City, Stories from the Sea, made more of an impact but not enough for me to go out and buy a copy. 2004’s Uh Huh Her barely even registered. White Chalk, forget it. I guess I had my ears pressed against other things: Latin jazz, funk, soul, ska, psychedelia, garage rock, new wave.
It was my lady friend who broke the embargo. In 2012, she bought for me Let England Shake, reinvigorating my appreciation of PJ Harvey’s oeuvre as whole. I especially appreciated the use of the autoharp and zither on many of the tracks. This is Polly Harvey’s great strength: an ear for euphonic textures, off-beat rhythms, sound collages.

Living alone and left to his own devices, my Cornish friend was listening to various electronic music. He played me From Here We Go Sublime by The Field. Billed as techno, it’s closer to trance, although not of the Goa kind. Perhaps it’s neither for it leans heavily on sampling, inhabiting a wistful sort of groove. That said, Over the Ice is fairly upbeat, even if the tune it borrows from – Kate Bush’s Under Ice – isn’t.
My nostalgia for late ‘80s/early ‘90s indie music, which had started with Sebadoh, led me back to Galaxie 500 (although it was Dean Wareham’s other band, Luna, that I was more familiar with). It seemed to me that Galaxie 500 held more in common musically with the more sixties’ influenced groups on Sarah Records than it did alternative indie American rock. Dreampop, slowcore, shoegaze… whatever you want to call it, it’s the folksy flipside to Dinosaur Jr. Wareham’s ostensibly simple guitar work is reminiscent of The Velvet Underground after John Cale was kicked out and their music became prettier. Except Wareham’s voice is far thinner than Lou Reed’s.
Up pops My Bloody Valentine on a second, consecutive compilation. This time around it’s one of their more conservative numbers, You Made Me Realise. Conservative in the sense that it possesses a verse and a chorus, what passes for a riff, vaguely melodic harmonies, and an instrumental breakout about halfway through. That said, the song descends into a mess of feedback that has been known to last, in a live setting, for over half an hour – what’s been referred to as the ‘holocaust section’. It’s like The Pastels jamming with Sonic Youth.

Adolf Hitler. There’s a certain attitude towards this monomaniacal piece of work that’s distinctly British. In the lead up to the Second World War and during it, the Fuhrer was perceived as a figure of fun, a caricature to be ridiculed and laughed at. This attitude is manifest in Allied propaganda: in posters (American placards were very much more aggressive than their British equivalents), songs (Hitler Has Only Got One Ball), films (The Great Dictator), plays (The Resistible Rise of Arturo Ui), even cartoons (the Bugs Bunny short Herr Meets Hare). Charlie Chaplin said that had he been cognizant of the holocaust he would never have made The Great Dictator, which appears to be the general consensus. After 1945, once the strange terror of the Third Reich had been revealed to all, portrayals of Hitler became more considered and generally light on laughs. Just don’t mention the war. (I say ‘strange’ because so inimical to the German war effort was the holocaust that early reports of it were dismissed as preposterous. Knowing that it did indeed take place does not render it any less so.)
But we do mention the war. I mentioned the war, albeit obliquely, on a friend’s stag-do in Berlin that I’d been called upon to organise. Somebody had got wind of this thing called the Berlin Beer Bike Tour, and I took it on board. A beer bike is no such thing. Although it is pedal-powered, it has four wheels and can accommodate up to 16 persons. It also incorporates a sound system, and so I prepared a CD especially for the occasion. As well as some old Acid Jazz numbers to bring back memories of the Quay Club in Plymouth, and few Britpop favourites to evoke Saturday nights down at JFKs, I included Wild Billy Childish & The Blackhands’ cover of the Dad’s Army theme tune. Billy Childish’s tribute is recorded in the ska tradition, and recorded live. It’s actually quite difficult to catch the words, all the more so in an open-air, urban setting. Nonetheless, a song was played that asks of Mr Hitler who he thinks he might be kidding, in the very heart of the German capital. Just to add another layer of subversion, I was done up like a member of the Red Army Faction: khaki field jacket, black cords, burgundy cable-knit pullover, brown shoes. As Luke Haines opines in his book, Bad Vibes: “Terrorist chic; you’ve gotta love it.” I doubt anybody made the connection.




The Questions were (Les) Lou’s by another name. In their incarnation as The Questions, they appeared briefly in the obscure French punk flick La Brune et Moi, performing Take a Ride. This track can be found on the hard-to-find compilation entitled My Girlfriend Was A Punk! Rare Early Female Punkrockers. I suspect The Questions were formed for the purpose of the film, because I can find no trace of anything else recorded by them. Not that Lou’s were prolific either, but they did at least support The Clash on their 1977 ‘Get Out of Control Tour’ (playing under Richard Hell and The Voidoids).
With their choppy guitar parts and slinky bass lines, Gang of Four are sort of like England’s answer to Talking Heads. Their debut album, Entertainment! might be the best album released under the auspices of post punk (unless of course you think The Fall were post punk, which I don’t). Footage of Gang of Four playing To Hell with Poverty on the Old Grey Whistle Test drew my curiosity. The song, taken from the EP Another Day/Another Dollar, is available as a bonus track on the re-issued version of their second album, Solid Gold. If I hadn’t quickly followed up with Gang of Four’s first LP, Entertainment! then it might have been that track, rather than Damaged Goods, that ended up on this compilation.
Sometimes a shift in musical style can be so pronounced that it somehow works. From post punk to R&B with a doo-wop slant; you may be familiar with Stardust from its inclusion in Martin Scorsese’s film Goodfellas. The tune itself dates back to 1927 but the Dominoes version was released in 1957, and it was a big hit. The lead vocal is sung by Eugene Mumford, who died in 1977, a month shy of his 52nd birthday.
I made the mistake of assuming that Conquistadors was representative of Chico Hamilton’s output. The associated LP – El Chico – is an exercise in Latin influenced jazz that takes full advantage of Gábor Szabó’s underrated ability on guitar. The Dealer is not, although it is an interesting record in its own right. But a strange thing: reading up on where I went wrong, I discovered that the reissued CD of the album included another collaboration with Gábor Szabó, entitled El Toro, which had been recorded four years earlier for the album Passin’ Thru. It’s not as full-on bossa nova as Conquistadors but there’s enough ‘exoticism’ going on to fulfil my remit – a sort of North African, hard bop vibe – so I downloaded it.
In 1993 I became fascinated with a Levi’s advert that depicted an inevitably handsome man dazzling in a pair of pristine indigo 501s, laying to rest the jeans he’d just replaced. This all plays out to Screamin’ Jay Hawkins singing Heartattack and Vine, which its author Tom Waits objected to. I’d been mesmerised by both the song and the jeans themselves, the iconic Red Tab looking almost violet beneath the colour-balancing filter. (If Levi Strauss had produced a limited edition 501 jean with a purple tab, I’d have bought them.) Anyway, I must have needed a new pair of jeans or something because I looked up the commercial on YouTube and reacquainted myself with ‘Procession’ (did you even know Levi’s gave their adverts actual names?). This in turn prompted an investigation into Screamin’ Jay Hawkins. The rest is history. I was familiar with Nina Simone’s recording of I Put a Spell on You but not Screamin’ Jay’s. I prefer Screamin’ Jay’s.




I have previously alluded to my quest to replace all my old hip hop cassettes with their vinyl counterpart – original pressings if at all possible – as and when I come across them. I was lucky enough to chance upon an immaculate copy of Cypress Hill’s first album for a very reasonable price, either in the Music & Video Exchange in Greenwich or Reckless Records on Berwick Street in Soho. (Whichever one it wasn’t may have been where I picked up an equally immaculate copy of Bazerk, Bazerk, Bazerk by Son Of Bazerk.) Released in the summer of 1991, How I Could Just Kill Man was Cypress Hill’s first single. The eponymously titled record that followed teems with samples in the way It Takes a Nation of Millions to Hold us Back does: ambient noise and people talking buried in deep amongst horns and percussion to create a mise-en-scène that evokes the sounds of 1960s/70s Los Angeles. How I Could Just Kill Man is built around a guitar riff employed by West Coast bluesman Lowell Fulsom in his song Tramp, although Lowell regulates its intensity to create a very different effect.
Another song sampled in How I Could Just Kill Man – and there are at least five – is less congruous. The Music Machine were a sort of psychedelic proto-punk outfit in keeping with the sort you’ll find on the Nuggets and Rubble anthologies I’d been buying ten years earlier. Come On In represents one of their more delicate moments, almost worthy of The Left Banke. The Music Machine were visually ahead of their time. Dressed in black and wearing pudding bowl haircuts, the singer and guitarist sporting single black gloves, they surely inspired the way bands like The Jesus and Mary Chain, The Telescopes or My Bloody Valentine presented themselves in the 1980s.
A bit of a jolt but I didn’t know where else to put it. Como El Agua is sung by Camarón de la Isla, the definitive singer of the flamenco revival that occurred in Spain in the latter third of the 20th Century. Likewise, Paco de Lucia, with whom Camarón often collaborated, was a virtuoso flamenco guitarist at the forefront of the same movement. Como El Agua was selected to round off an edition of the Vuelta a Espana highlights. I was onto it, and downloaded it from somewhere or other. Camarón de la Isla was revered in Spain as a sort of ‘gypsy’ take on Mick Jagger, although his recreational habits were apparently more in keeping with Keith Richards – hence is premature death at the age of just 41 from lung cancer.
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In April I finished a three month tenure working for an independent tour operator in Kingston, for peanuts, during what was a cold and protracted winter; money was tight. Come June, I'd found temporary, part-time employment with a medical publishing company in Holborn  the sort of place that liked to jazz up their weekly meetings with hypothetical questions pulled out of a hat. Summer's weather started off well but by August had fallen flat (although a long weekend in Paris offered some respite). Prospective employers were rebuffing my solicitations. Half Man Half Biscuit captured the mood:

Down in the High Street somebody careered out of Boots without due care or attention.
I suggest that they learn some pedestrian etiquette:
i.e. sidle out of the store gingerly;
Embrace the margin.

The song National Shite Day recounts a set of circumstances so infuriating that its protagonist is left to conclude that the day in question has been contrived to annoy. Really, it’s a frustrated rant offering up the sort of banal irritancies that afflict contemporary living. I could feel Nigel Blackwell’s pain.
Aside from Unknown Mortal Orchestra, Tom Yorke’s Atoms for Peace is really the only current music included on this playlist. (I’m not going to bother painting the musical backdrop to all of this, because I took almost no notice then and so it would be disingenuous to pass comment now.) Ingenue is mere filler, albeit of a pleasing kind, and not markedly different to anything Radiohead had been up to lately (which wasn’t much: 2011’s The King of Limbs had been their last release). FFunny FFriends is the older of the two Unknown Mortal Orchestra tracks I've included, although there’s no way of telling that. Flowers is taken from 1988's Today, the same Galaxie 500 album that Tugboat was taken from.
Swing Easy by The Soul Vendors is an instrumental rocksteady track, a hangover from my ska binge the previous year. The Soul Vendors were a band Clement ‘Coxsone’ Dodd threw together to tour England, comprised mostly of members of Studio One’s studio backing-band The Soul Brothers, who were in turn cobbled together after the dissolution of The Skatalites. Keyboard player Jackie Mittoo seems to be the guy who wrote most of the songs, and would continue to do so once The Soul Vendors mutated into Sound Dimension.
Late in the Evening by Paul Simon is pure whimsy on my part. It's a decent song but I have no idea why I have included it on this specific compilation. Not so Rod Stewart. I turned to my copy of Reason to Believe, a bizarre LP put together in 1978 to be sold exclusively through the retailer Marks & Spencer, inherited from my parents. The last track on side 1 is Every Picture Tells a Story, co-written with Ronnie Wood and originally the title track of Stewart's third solo album released in 1971 (with 'Vocal Abrasives' credited to Mateus Rose). The lyrical content is contemptible by today's standards, but what a tune!


[This playlist may be listened to here.]

Tuesday, 5 June 2018

THE SARTORIAL ELEGANCE OF SERIE A: JUVENTUS, 1989-94





When Ian Rush finally joined up with Juventus in the summer of 1987, after being loaned back to Liverpool for the previous season, Michel Platini informed the Welshman he’d arrived two, maybe three years too late and that the club was entering a period of transition. Most of the players Rush had played, and lost, against in the European Cup Final two years earlier had moved on – Zbigniew Boniek, Paolo Rossi, Maro Tardelli, etc. – while Platini himself had confirmed his retirement. Antonio Cabrini and club captain Gaetano Scirea were still present but well past their prime, Scirea having just turned 34. They did have Michael Laudrup, but he was not at this point anywhere near being the player he would later become at Barcelona.
What might also have frustrated Rush was the fact that his new shirt was a museum piece in comparison to the natty number he’d been wearing at Liverpool. Italian sportswear companies were slow to move on from cotton, and although the current shirt wasn’t unattractive, it would have seemed relatively heavy and overly long. Just to really rub it in, no sooner had Rush returned to Liverpool than Kappa got their act together and started utilising contemporary fabrics.

The change in material did not have an immediate impact on Juventus’s form. Nor did the arrival of Portuguese Rui Barros or Ukrainian Oleksandr Zavarov. What did appear to signal an upward turn in the club’s fortune was the acquisition of Salvatore Schillaci from Messina, Pierluigi Casiraghi from Monza, and taking on department-store chain Upim as patron in place of home-appliance manufacturer Ariston. 1989/90 was a good season for the ‘Old Lady’ that saw them lift both the Coppa Italia, narrowly beating AC Milan, and the UEFA Cup, comfortably beating Fiorentina.
The jersey in which Juventus ended their three year barren spell incorporated hollow, inverted, micro-patterned squares forming part of a larger matrix of hollow, inverted, micro-patterned squares (it’s very hard to find pictures that do this motif justice). It was a nice shirt but suffered from a lack of visible colour, and the absence of the club's crest; in its place, just two gold stars signifying over 20 scudetti won. When the actual scudetto – or even the coccarda – adorned the shirt, then it became a thing of great beauty.
Despite winning two trophies, Juventus had come no nearer to landing the championship, finishing fourth, and manager Dino Zoff was shown the door. He was not the only one: Zavarov was out, as was Belarusian Sergei Aleinikov, who’d only lasted one season, and so too Rui Barros, who moved on to Monaco. The new coach, Luigi Maifredi, brought with him defender Marco Antonio De Marchi from Bologna, and was also provided with World Cup winning midfielder Thomas Häßler, Brazilian defender Júlio César, and attacking midfielder, and national hero, Roberto Baggio, who claimed his transfer from Fiorentina had been forced upon him.
1990/91 did not go as planned, for which Maifredi paid the ultimate price. However, as winners of the previous year’s Coppa Italia, Juventus bore the coccarda. Moreover, Kappa decided that their company’s logo – the silhouette of a man and woman sat back-to-back – should now be coloured green. This minor detail meant that when the coccarda was absent the following season the shirt maintained its visual interest. Indeed, it seemed to look better without the scudetto or the coccarda, the green Kappa logo on the right side singularly complementing the two gold stars on the left.
In the meantime Juventus had reappointed Giovanni Trapattoni as coach, the man who had previously guided the club to six titles within nine years (the period Platini was referring to when lecturing Rush). In his first season in charge Juventus finished second in the league behind champions AC Milan. In 1992, food producer Danone took over as sponsor and the shirt’s V-neck was trimmed, otherwise the kit remained very much the same. Trapattoni then guided Juventus to their second UEFA Cup victory in four years, beating Borussia Dortmund 6-1 on aggregate, and then in 1993/94 finished Serie A as runners up – again losing out to AC Milan – before ‘Trap’ left to take over at Bayern Munich.


1992/93 UEFA Cup final

Depending on how you like your collars and fonts will determine which iteration of this kit you prefer. Personally, I think the Upim version edges it. In any case, the phlegmatic Frenchman was right: Juventus had been a team in transition. By the time they secured the title in 1995, under the stewardship of Marcello Lippi, Kappa had ditched their green insignia, reverting to black, and started doing terrible things to their shirts’ neckline. Lotto would soon take over as supplier, and later Nike, but neither would come close to offering the simplicity and purity of design Kappa provided during this transitory phase in the early 1990s.


[This article also features in The Gentleman Ultra.]