| | Pete Shelley XL-1 CD - Import Pete Shelley Discography of CDs
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With XL1, Pete Shelley integrates layers of guitar into the electronic synth-pop he essayed on his solo debut, Homosapien. While the result isn't quite as bracing as its predecessor, the music benefits from the guitar -- it sounds edgier, making the record fairly captivating. There's still some weak material on the record, but "Telephone Operator" and "If You Ask Me (I Won't Say No)" are terrific, ranking among Shelley's best. ~ Stephen Thomas Erlewine
Second solo album from Buzzcocks singer/songwriter. Combining electronics and Shelley's signature guitar sound, this sophomore release was produced by Martin Rushent (Human League/Stranglers/Buzzcocks). While not as successful as his debut album, "Homosapien", this album did include radio favorites such as "Telephone Operator" and "I Just Wanna Touch". This CD remaster features two extended dub mixes as bonus tracks. Varep. 2006. XL-1 Review
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| | Avon Calling: The Very Best Of Heartbeat Records CD (2005) (Import) United Kingdom
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The post-punk scene of the late '70s and early '80s is to contemporary indie rock fans what the mid-'60s garage rock scene was to the post-punk scene of the late '70s and early '80s: both a source of musical inspiration and a seemingly inexhaustible resource for obscure, often weird, but sometimes magical 45s. One of the golden ages of D.I.Y. indie rock, rare post-punk from this era is still being uncovered over a quarter-century later. The two-disc Avon Calling: The Bristol Compilation has a handful of tracks by bands not entirely unknown -- the Glaxo Babies are represented with six tracks, including their career high point "Christine Keeler," and the Art Objects (later to become Brit-pop stars as the Blue Aeroplanes) have their excellent "Showing Off to Impress the Girls" dusted off -- but nearly all of these bands and songs will be all but unknown to all but the most hardcore collector geeks. What's most illuminating about Avon Calling for those who weren't there the first time around is that it puts the lie to the narrow definition of post-punk that has grown in the popular imagination since the turn of the millennium, when it seems that this era in British pop music consisted solely of bands that sounded sort of like either Joy Division or the Human League. As a matter of fact, there's little Manchester gloom or straight synth pop among these 46 songs. Instead, the Private Dicks' "Green Is in the Red" and the Stingrays' "Sound" are brisk, sunny power pop with tuneful choruses and great guitar riffs. Some songs are simply re-purposed '70s art rock with the proggy noodling and flashy solos cut out; the Europeans' "On the Continent" and Moskow's "Too Much Information" don't really sound all that different from contemporaneous singles by the likes of 10cc or Manfred Mann's Earth Band. Other songs keep the second-wave punk flag flying, the like X-Certs' "Anthem" and the female-fronted Vice Squad's appealingly bratty "Nothing." Other songs come off as weak carbon copies: the mod pop of Vitus Dance's "Down at the Park" is a little too close to the sound of All Mod Cons-era Jam. Ditto the Slits-like dub reggae of Double Vision's "My Dead Mother" and "List 99." On the other hand, the lo-fi D.I.Y. rush of the quirky but accessible "Desire" by Sneak Preview and the Sk
The music emulating from in and around Bristol in the southwest of England during the late '70s and early '80s remains today as some of the most innovative and important from that era. Many of the creators of these sounds went on to do things internationally, though it's the origins that this release is concerned with. Heartbeat Records managed to capture most of this through a series of now highly acclaimed 7 inch singles. 2 CD set with a booklet telling ...
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As on so many obscure long-players of the late '60s, there's a salad of styles on Kangaroo's sole, self-titled album, running the gamut from redneck country-rock ("Frog Giggin'," "Happy Man") and sunshine pop-spotted psychedelia ("Such a Long, Long Time") to strident folk-rock ("Daydream Stallion") and avowedly sub-Beatlesque sounds ("Happy Man," "Make Some Room in Your Life"). There are also insertions of backwards guitars, San Francisco-type acid rock riffing, soul vocal posturing, descendants-of-Mamas & the Papas male-female backup harmonies, and a monologue about killing frogs and having sex at the same time. Still, there are good things about the record, particularly the vibrato folk-rock vocals of Barbara Keith. They're reminiscent to varying degrees of Melanie, Judy Collins, and Buffy Sainte-Marie, though her own personality comes through, as showcased to best effect on the record's highlight, the strident yet haunting folk-rock-psych outing "Daydream Stallion." Fans of Keith should be aware both that this record is not similar to the ones she would subsequently make during her long career, and that her contributions ...
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