Sunday, October 17, 2010
JEFFREY MORGANíS MEDIA BLACKOUT #233
Sun, October 17, 2010 | link
EXACTLY JEFFREY MORGAN’S MEDIA BLACKOUT #233!
SIZZLING SOUL PLATTER OF
THE WEEK: Phil Collins – Going Back (Atlantic) :: I know good music when I hear it and on Going
Back what I hear is Brother Phil skillfully interpreting a whole funky mess of Motown classics from “Jimmy Mack”
to “Papa Was A Rolling Stone.”
It’s a welcome change
of pace from the days when a scam artist like Mick Jagger could get away with hacking out inauthentic rubber soul covers like
his mugging versions of “Going To A Go-Go” and “Harlem Shuffle”—and don’t get
me started on that leering violation of “Dancing In The Streets” that he committed with David Jones. Compared
to such base vulgarities, it’s obvious that Brother Phil’s nuanced and righteously respectful vocals were just
made for mature Motown material such as “(Love Is Like A) Heatwave” and the reverse parenthetical “Uptight
Granted, to the untrained ear, some of
these inner city songs may sound pretty white. But so is Brother Phil; what can I tell you?
Davy Jones – “Daddy’s Song” (Head) :: Exactly!
The Glass – At Swim Two Birds (Plant) :: This suavely smooth
selection of synth-soaked songs initially evokes dissipated memories of latter day Japan ennui and Roxy languor before phase
shifting into a solid electro barrage of modern day dance beats which sound like any day Telex whimsy. Bonus points for actually
recording a song called “Heavy Disco” in 2010.
Telex – “Moskow Diskow” (Virgin) :: Exactly!
Katherine Wheatley – Landed (The Hoot Music Company) :: Not since Sparks’
Indiscreet has there been such an amusing airplane crash album cover—landed, geddit?—but the
yucks stop there because this is one country record that’s no laughing matter. Inspirational verse: “I’m
not the murdering kind, but killing you is on my mind. I’d have made a very fine wife, I’m good and ready to bury
– “Wild Women With Steak Knifes” (Mute) :: Exactly!
Ariana Gillis – To Make It Make Sense (self released) :: I’m sure Ariana would never agree
that her sensitive socially-conscious acoustic music is of the neo-psychedelic ilk, but that’s exactly what it is—and
to make sense of that, all y’gotta do is listen to the first track “Blueberry Ocean” and then stick
around for such additional under-the-influence excursions as the Dylanary “Be A Man” and the watery Badalamentistic
atmospheric reflections of “Agent Orange.”
Kelly – Eastbound Platform (self released) :: Jadea manages to whip up a good head of steam on the
opening track “Never Coming Back” which musically has all the verve ’n’ swerve of—I kid you
not—a Zeppelin outtake circa 1969. Then she regretfully reverts to type by inexplicably settling down for the remainder
of the record, thereby derailing the disc for its duration. Next time around, somebody oughtta tell her to play to her strengths
and get the Led out.
Heart – Steamboat
Annie (Mushroom) :: Not that much Led.
PLATTER OF THE WEEK: Marco Benevento – Between The Needles And Nightfall (Royal Potato Family) ::
Aided and more than ably abetted by Reed Mathis on bass and Andre Barr on percussion, quirky keyboardist Marco serves up eleven
excellent eclectically inventive electro acoustic instrumental essays which evoke aural ambient echoes of earlier like-minded
albums, none more so than Paul McCartney’s McCartney and Nash The Slash’s Bedside Companion.
Jeffrey Morgan – Alliterative Run On Sentences
(Media Blackout) :: I am the greatest!
Clay – I Am The Greatest (Columbia) :: Exactly!
The Cringe – The Cringe (Listen) :: Exceptionally intelligent power pop that oughtta be spinnin’
on your turntable right now if you’re half as smart as you think you are. The subtle glam rock underpinnings
only reinforce my feeling that this one sounds as if it originally came out on vinyl in the mid-’70s—and if it
had, I woulda worn out my copy in a week.
– fin du monophone (self released) :: Bonus points for coming up with a cool cross of ’80s syntho Europop
that gives lip-service to John Foxx’s Ultravox and hip-service to the aforementioned U.S. Mael’s Sparks. Points
deducted for having an album title that’s not in English.
Caracol – L’arbre Aux Parfums (Gross Maman) :: Doesn’t anyone speak English
The Stranglers – “Sverige”
(EMI Sweden) :: I guess not.
David Lee Roth –
“Loco Del Calor!” (Warner Bros. Spain) :: Okay, you made your point.
The Rolling Stones – “Con Le Mie Lacrime” (Decca Italy) ::
Alright, enough already.
– “Komm, Gib Mir Deine Hand” (Parlophone Germany) :: Shut up!
Kraftwerk – “Die Mensch-Maschine” (Kling Klang)
:: Oh, I give up.
SIZZLING SUPERSIZED PLATTER OF THE WEEK:
Matt Anderson – Live From The Phoenix Theatre (Busted Flat) :: “What’s all this about
me being the Orson Welles of rock?” Meat Loaf once asked me, after I’d made the not-too-subtle suggestion to his songwriting foil Jim Steinman that, well, Meat Loaf was
the Orson Welles of rock.
“The great thing about Orson Welles is
the combination of power and brilliance,” said Steinman, which is exactly how I feel about Matt Anderson’s musical
largess—and, as it turns out, so does Mr. Anderson, what with him singing self-deprecating songs like “One Size
Never Fits” and having a website indelicately dubbed “Stubby Fingers.”
Now it’s no secret Matt’s one hell of a barn-burnin’ guitarist, but I gotta tell ya that it’s his
bravura vocals that steal the show from start to finish. F’rinstance, his unearthly wails on “I Play The Fool
For You” are so utterly uncanny that he’ll have you giving your speakers a well-deserved double take. But whether
he’s essaying ballads or blues, Matt always sings ’em with a deep-seated soulfulness and bottomless depth of emotion
that’s always backed up by his good-natured personality.
why, just like the man himself, Matt Anderson’s Live From The Phoenix Theatre is larger than life and even
harder to overlook. Now who you gonna believe: me or your own ears?
Stubby Kaye – The Ballad Of Cat Ballou (Capitol) :: Oh, what an episode!
Be seeing you!