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Yesterday was C-F on the list of album still wanted on CD format…before it’s too late! RED = I have already made a CD of this. GREEN = awaiting remastering in my Media Empire Room. BLUE = I still need to buy this on LP to make a CD of it. Back to the list…
Floyd was the eccentric [could there be any other kind?] balladeer singed to The Compact Organization and his 1985 album is a strictly mail order affair. The tracks I’ve heard on various compilations paint a curious picture. I primarily want this because I want a full Compact Records discography under my roof one day. Is that so wrong?
The most New Wave of Fripp’s infamous “Drive to 1981.” This three-piece dance combo was built around Fripp’s fast paced leads cut with the screaming farfisa of Barry [post-XTC/pre-Shriekback] Andrews and the bass of Sara [Gang Of Four, B-52s] Lee. This record is shot through with spoken word pieces that are not like anything else in the Fripp oeuvre. There is a CD I own with several tracks from this [remixed] and combined with…
This album had Fripp adapting his Frippertronic approach to front New Wave “rock disco'” which as a genre, Fripp helpfully points out in his typically Frippian liner notes is already somewhat past its sell-by date. The original mix of the incredible “Under Heavy Manners,” with David Byrne guesting on vocals [incognito, to avoid lawyers sniffing around] is on this album. Two tracks from this appeared on the ultimately disappointing “God Save The King” CD referenced in the above paragraph.
Back in the day, this Virgin artist had a single album that stiffed. I remember a review in Trouser Press that unfavorably compared them to Ultravox. Naturally, I had to try it. The 7″ of “L’Image Craque” that I found in the bins fit that review well enough, so I didn’t bite further. With the real Ultravox going strong at the time, why bother with this? 35 years later, there’s all the reason in the world to do so! And you must admit: the cover effectively telegraphs the “Miami Vice” aesthetic a full two years early.
This one we wrote about a few weeks earlier here at PPM. It’s a brief, but wonderful album of femme-led rockabilly; a usually exotic format even at the best of times. It’s a record so beholden to Wanda Jackson, that it could not exist without at least one cover of a Wanda Jackson tune. It was “Fujiyama Mama” that got the nod here.
Scot New Wavers The Headboys haunted me for decades with their insane Power Pop deep cut “The Shape Of Things To Come” back in 1980. I finally bought the 7″ of that in 2011, and got the full album the next year. For almost five years, it’s been sitting on the racks, doing no one any good.
Sometimes, the albums you want are so obscure it takes decades to even find out about them! Trevor Herion’s only album is one such event. He may be best known as the singer in The Fallout Club; an early Thomas Dolby spinoff project. What I’ve read suggests Monk-bait of a reasonable kind.
Philip Jap was a fascinating footnote to the tail end of the New Wave era. His album is packed with heavy hitters from the Who’s Who of New Wave Production. Imagine an album where half was produced by Trevor Horn in 1983 [a deal maker, right there], and the remaining half was produced by Tony [New Musik] Mansfield! Yes, they split the production chores on this album if you can believe that such a thing could have ever happened!
Hmm. It seems like lunch hour nets me enough time to increase this list by 7-8 entries each day. At the rate we’re going, this thread should take us through to 2017, but we’ll see about that.
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