One record at a time: 265. Róisín Murphy - Hit Parade

After the disco heights of her previous album, it was inevitable that "Hit Parade" would be a return to the esoteric side of Róisín Murphy's music. This record is a collaboration with DJ Koze that lands somewhere between soul and electronic mayhem. Like most of her other albums, I bought a signed copy of the vinyl when it was released.

I might as well say upfront that I don't like this record. The first track "What Not To Do" is a great intro with rumbling synths and rattling percussion underpinning Róisín's impeccable vocals; but everything goes down hill from here. 

There's a big soul influence on these tracks and many of them include samples of old records. This approach produces a unique sound, but unfortunately, it is not a sound I appreciate. 

"Free Will" has some overt disco references that cause some mild excitement and the single "You Knew" has a tinge of dub that elevates it above the mundane, but everything else is a disappointment. "Can't Replicate" sounds like it is about to break out into Lil Louis "French Kiss" but it never hits despite running for seven and a half minutes. I still feel very disappointed with this record and the sleeve freaks my kids out - so I think it will stay hidden on the shelf for quite some time. 1/5

One record at at time: 264. Róisín Murphy - Crooked Machine

"Crooked Machine" is a remix album that was released seven months after parent album "Róisín Machine". Initially these mixes were only available as digital files but were eventually released on vinyl for Record Store Day. Record Store Day 2021 was held in the days of COVID 'lockdown' so it was a much more civilised affair conducted over the internet.

When I first heard these remixes (all made by producer Crooked Man - hence the title) I was in complete awe and I became increasingly desperate to hear them from vinyl. These mixes are probably best described as deep house dub mixes but there is some variety that means this record offers a good listening experience and isn't just a tool for DJs.

"Kingdom of the Machines" is a take on "Kingdom of Ends" that features a bassline so good it bends my mind. The vocals blend seamlessly with the building beats and atmospheric synths as producer Crooked Man whips us up into a frenzy. It's a stunning piece work. Second track "Echo Returns" takes the album track "Narcissus" and turns it into a dreamy meditation that can either be transcendental or irritating depending on your frame of mind. 

In remixing "Incapable" Crooked Man creates the stupendous "Capable Rhythm" which has a bassline that is simply mind blowing. Róisín's vocal remains intact on this one and ensures this track remains six minutes of pure pleasure. "Assimilation" is a slightly slower, brooding mix that exposes a dark underbelly of "Simulation". We soon emerge from the shadows with "Crooked Madame" which throws glitter on original album version of "Shellfish Mademoiselle" and comes up with a brilliant dance floor groove. 

On the second disc, "Something More" is transformed into "Less Is More" which stomps along quite happily and reminds me a little of the sound of Moloko. The first disappointing mix is "Name Changer" which neither has the irresistible basslines or innovation of other mixes here. I like "We Are The Law" as it removes the vocal manipulation applied the original "Murphy's Law" and gives the song a new lease of life. To finish, the disco panache of "Jealousy" is twisted into a sort of breakbeat mayhem that brings back happy hardcore memories. All in all this is one of the best remix albums you are ever likely to hear and you don't necessarily have to be a fan of the original album to appreciate its majesty. 4/5

One record at a time: 263. Róisín Murphy - Róisín Machine

Having released two albums of rather esoteric material, I wasn't sure what to expect from Murphy's "Róisín Machine". However, the one thing I wasn't expecting was a collection of funky house grooves that would outclass everything else I heard in 2020. 

I own the limited edition double blue vinyl which is sealed in a black plastic bag along with a signed photo, sticker and 'zine'. When it came time to write this post I decided not to open the record and keep it as a sealed collector's item. Instead, I purchased a copy of the "splatter" Album Day edition to play. This is not as extravagant as it sounds because it was relatively cheap on eBay and I had been tempted to buy a second copy before.

Opening track "Simulation" is a relentless house groove that I find simply mesmerising. I used to listen to this song whilst running during the COVID 'lockdowns' and its relentless nature would propel me along no matter how tired I was. I would give anything to be able to write a groove this brilliant and hypnotic. With this first song, producer Crooked Man instantly proves his genius is equal to that of Róisín.

"Kingdom of Endz" is an amazing synth driven track on which Murphy sings the most brilliant harmonies as the kick drum pounds out the beat. I love the synth chords on this track and its constant cycle of build and release really satisfies. "Something More" is a slightly more laid back groove which feels it has more of a song structure but is no less marvellous. The next rack "Shellfish Mademoiselle" is a little more derivative, but the quirky bassline rescues it from mediocrity.

Another favourite of mine is "Incapable" which utilises a seemingly incessant loop to create another mesmerising slab of electronic genius. I really don't understand how it is possible to loop the same two bars for three and a half minutes and make the music sound better and better. To top things off Róisín delivers a heartfelt vocal where she reflects on the breakdown of a relationship.

"We Got Together" has a little bit of grit that means its groove really thunders along. "Murphy's Law" is one of few tracks that has a more traditional song structure and references disco directly. There's more of a a swing beat on "Game Changer" which elevates it to something slightly more wistful than the songs we have heard to this point. The disco theme is continued by "Narcissus" with its string arrangement and fluid bassline. To ensure we finish on a high note Róisín rolls out the funk of "Jealousy" which comes replete with chicken scratch guitars and a pseudo-horn section. I really wish Róisín made more records like this. 4/5

One record at a time: 262. Róisín Murphy - Take Her Up To Monto

I ordered this signed copy of "Take Her Up To Monto" from Róisín's website in 2016. As the release date approached I received an email from the web-store to the effect of, "Your record will be late and it won't come signed. How do you like those apples?"

To say I was miffed is an understatement, but as the web-store message was totally unapologetic and didn't offer us any other options, I thought it was something I would just have to suck up. However, I hadn't anticipated an intervention by Róisín herself who sent an email a few days later apologising and telling us that, not only would our record come signed, but it would also include a free art print as an apology. 

It later transpired that the records Róisín had originally signed had become damaged and nobody thought to tell the artist herself until after customers received the dismissive email. Anyway, everything turned out well in the end and I emerged with a new found admiration for Róisín herself (if not Townsend music). 

The fact that this is another collaboration with Eddie Stevens signals it won't be an easy ride, but thankfully this record takes a different approach to its predecessor "Hairless Toys". The opening track "Mastermind" has some fabulous arpeggios and disco style synth toms that instantly suggest there will be more electronics on this album. Whilst "Pretty Gardens" and "Thoughts Wasted" belong in the "weird" category, they are entertaining and even quite moving in places. Róisín indulges in her predilection for basso-nova beats with "Lip Service" which is a fun way to finish the fist side.

There are some fat synths and booming beats on "Ten Miles High" before things slow down for the dreamy synth textures and fabulous vocals of "Whatever". Almost every song on this track is better than the previous album as even the more mundane compositions have an electronic sound. This is evident on the last three tracks which veer into more experimental waters but employ really interesting synth textures and beats rather than using acoustic drums or mundane band recordings. So this isn't a perfect album but it is an improvement on what went before. 3/5

One record at a time: 261. Róisín Murphy - Hairless Toys

I had enjoyed Róisín's "Overpowered" album a great deal so I didn't hesitate when ordering a signed copy of follow up "Hairless Toys" from her website in 2015. 

However, when it arrived, this record was not what I was expecting. Having heard the more commercial and dance orientated side of her music, I wasn't quite prepared for the avant-garde and downtempo Róisín. It's no surprise to find former Moloko collaborator Eddie Stevens is a producer and co-writer here.

Things start in the most inauspicious and low key way possible with the mid-tempo vibes of "Gone Fishing". The nature of this song initially turned me off this album and I didn't give it the attention it deserved as a result. For me the next song "Evil Eyes" would have made a much better prelude as it has an atmospheric introduction that slowly builds before exploding in a shower of synth fireworks.

My favourite track is "Exploitation" which begins in a fairly standard synth-pop way before suddenly switching to something far more intriguing. Róisín weaves a vocal melody through the wobbly synths and funky guitars and, despite a nine and a half minute running time, it never becomes boring.  

"Uninvited Guest" sees us return to a more laid back vibe but there's just enough funk to provide some interest. "Exile" is probably the least interesting song on here as the conventional band instrumentation is as predictable and boring as the composition. "House of Glass" is a track that takes four minutes to break out into the electronic mayhem it had been threatening us with but my interest had waned a little by the time it got going. The title song is six minutes of twaddle that sounds like a cross between Björk and a nursery rhyme. The final song "Unputdownable" kicks off after about three minutes and is interesting when it does finally warm up. I am not adverse to music that is experimental and I don't need every record I buy to pander to my pop sensibilities, but large parts of this album leave me cold and uninterested. I've also seen various complaints about the quality this pressing and that the track "Exile" skips. My copy seems to play perfectly and gives a flawless reproduction - so it seems a bit of a lottery as to how your copy of the vinyl sounds. 2/5

One record at a time: 260. Róisín Murphy - Overpowered

There are two sides to Róisín Murphy: there is an extremely funky side, and there is a slightly bonkers avant-garde side. Whilst her debut album "Ruby Blue" should be be filed under 'experimental', 2007's "Overpowered" was definitely made for the dance floor.

However, whichever side of Róisín an album represents, it is always a sincere endeavour. Róisín often comes across as irreverent and self effacing, but in reality she is heavily invested in creating music that becomes art. Whilst not everything she produces is to my taste, I appreciate her attempts to push the boundaries and never stay still.

For me this is one of Róisín's better albums. There's no doubt that her record company at the time pushed her to create more commercial dance music, but she retained enough control to make this more than anonymous manufactured pop. From the cover, the lyrics and even the people she chose to work with, this album is a unique product moulded by Murphy.

This copy of the record is a reissue from 2019 that duplicates the original pink and orange vinyl but also includes a bonus track that wasn't found on the first pressing. Visually this record is stunning, but more importantly it also sounds great - the quality of coloured vinyl has improved markedly since when I fist began buying records and it can no longer be instantly dismissed as being inferior.

I bought the CD of this album back in 2007 after I heard the title track. Not only does this song feature a great melody, but the minimalistic, electro-tinged production is absolutely fantastic. Andy Cato produces and co-writes the second track "You Know Me Better" which moves in a slightly more commercial direction, but is no less impressive. I'm not a big fan of "Checkin' On Me" as I find the backing vocal that follows the bassline intensely irritating. "Let Me Know" is a polished pop/dance crossover that provides contrast to the more grinding electroclash sound of "Movie Star" that follows. The fist disc finishes with "Primitive" which stumbles along and doesn't really catch fire.

The pink disc opens with "Footprints" which is probably the most disappointing and disjointed track on the whole album. "Dear Miami" and "Cry Baby" are both intriguing songs that are powered by rasping synths and Róisín's brilliant vocals. Unfortunately "Tell Everybody" repeats the annoying trick of using vocals to mimic the bassline, but the song is at least better than "Chekin' On Me". There's a change of pace with the slightly soul influenced "Scarlet Ribbons" and I love the vocal on "Body Language" as Róisín twists and embellishes the melodies. Richard X sprays his undoubted genius over "Parallel Lives" which was a mere 'bonus' track and omitted from the original vinyl. It might just be my twisted sensibilities that considers a seemingly discarded track as the best thing on the whole record, but I do love this one. Whilst there a few songs on this record I am not so fond of, the highs of "Parallel Lives", "Overpowered", "You Know Me Better" and "Let Me Know" mean I am forced to consider this album a success. 4/5

One record at a time: 259. MG - MG

One of the markers of your dedication to a band is your willingness to buy records released by individual members. By this measure I could be regarded as a "less than half hearted" Depeche Mode fan as "MG" by MG is the only solo record by a member of the group that I own. 

I suspect Martin Gore chose to employ the MG moniker for this album to differentiate it from his earlier solo records or his work with Depeche Mode. None of the sixteen instrumentals that make up this record offer any concessions to pop or rock. This is abstract electronic music with only the occasional dance beat or twist of self indulgent noodling to add colour.

It is quite fitting that the opening track "Pinking" is named after an engine fault as the song is a bit of a miss fire. As soon as you think the atmosphere is about to build into something interesting, it ends. "Europa Hymn" is an improvement and reminds me of B12 or Aphex Twin with some unmistakable Martin Gore flourishes thrown in. Another standout is "Stealth" which rumbles along with some nice chords and minimalistic beats. "Crowly" is a bit more aggressive sounding and is reminiscent of Gore's collaboration with Vince Clarke "VCMG" (how do they think of these band names? Amazing). Everything else washes over me like a sea of mediocrity.

As I swap the discs and handle the packaging I can't help but feel the quality of this pressing is a little wasted on the music. Both discs sound as good as you would expect from a heavyweight Optimal media pressing, and both a CD and digital download were included in the package. Yet nothing on here really grabs my attention. This is a soundtrack to a movie that has yet to be made, and I think I might enjoy it more in such a context; but as a piece to listen to, it doesn't really interest me that much. 2/5

Dead people's records

I occasionally like to take a look in charity shops to see if they have anything interesting and maybe find a bargain. As a music fan I tend to gravitate towards the media section of the shop along with the usual assortment of middle aged men who mutter to themselves and have poor hygiene. The people in the media section also tend to be territorial and are not adverse to getting their elbows out in order to fend off any rivals for a bargain.

If you can get to it, most shops will have a small selection of vinyl records, but they always seem to be the usual assortment of Herb Alpert, James Last, Dean Martin or Andy Williams LPs from the sixties and seventies. There are often multiple copies of the same record available. I once took great pleasure in lining up five copies of "The Sound of Bread" to ensure that any passing Bread enthusiasts wouldn't have to look too hard to find the copy in best condition. Occasionally you will see a dusty box of classical music sitting underneath the shelves. Such boxes are often groaning with ten disc box sets or various "Classics for Pleasure" titles that haven't been played in sixty years. I have even seen boxes of cassettes - but searching those is a bit too hardcore even for me.

The one thing that all of these records and tapes have in common is that they are worthless. The audience for easy listening music is quite literally dead. Even the few living people who are interested in the genre aren't likely to need a another copy of "Al Martino: Gold" or Perry Como "And I love you so".

I also see other patterns emerging with newer music. Almost every single charity shop in the UK seems to contain the Robbie Williams back catalogue on CD. Invariably you can walk out of any 'chazza' in England with at least four copies of "Escapology" if you so desire. However, I suspect these CDs are merely the discarded ephemera of Generation X as they move wholesale to streaming services rather than as a result of their untimely deaths.

Therefore anything worth owning in a charity shop tends to stick out like a turd in a swimming pool. I have seen the prices of anything even vaguely worth owning rocket in the last couple of years. It seems the people who kindly volunteer to work in charity shops have become attuned to the difference between a box of dead people's records and something people might actually want. So unless you need another LP by The Tijuana Brass or to overpay for something you do want, you might as well avoid charity shops.

One record at a time: 258. Liza Minnelli - Results

I first bought "Results" on cassette whilst on holiday in the summer of 1990 - I didn't buy it when it was released as I simply couldn't afford it. Obviously I own this album (three times on vinyl, twice on CD and a cassette) because of its link to the Pet Shop Boys - I'm not a Liza fan per se. 

Here I will be playing the 2012 180g repressing, but I also own the hardback book version from the same year and an original copy from 1989. I bought the re-pressings as they were being sold off cheaply by Vinyl 180 who had released them a couple of years earlier. These are far from perfect pressings with crackles throughout, but they are at least packaged very well.

As "I Want You Now" kicks into life I'm immediately reminded of how dance orientated this album is. Producers Julian Mendelsohn and Pet Shop Boys seem keen to draw on the sounds of early house with a pounding beat and funky bassline that could have come straight out of a Chicago warehouse. Yet the antiquated orchestra hits and Fairlight string stabs clearly single this out as eighties pop. I have never been a fan of the ridiculously low register Liza employs during chorus, but this is a great introduction nevertheless.

The single "Losing My Mind" comes next and is full of frothy hi-energy. The drums on this track sound a bit dull when compared to the more contemporary samples used on other tracks, but the relentless bassline drives things along nicely. "If There Was Love" provides a perfect example of this contrast in drum sounds with its TR-808 snare and pounding kick piercing through the mix. The only downside to this track is the DX7 harmonica preset which sounds a bit naff to modern ears. The excellent contributions of Danny Cummings (percussion) and Pete Vitesse (piano) are prominent here but the sax of Courtney Pine is most definitely not to my taste.

One of the best compositions on this record is the plaintive "So Sorry I Said". There's a great Fairlight double bass sample and some nice programmed percussion underpinning Liza's earnest vocals. "Don't Drop Bombs" is another upbeat electronic track which is once again heavy on the programmed percussion but the backing vocals seem completely unnecessary to me. Next is a half finished cover version of "Twist in my sobriety" in which Liza sounds like she isn't too sure of the melody or convinced by the merits of the song in general. 

Angelo Badalamenti's orchestral arrangement for "Rent" adds a new dimension and turns an electro single into a moving show tune. I quite like the song "Love Pains" but the production here is all wrong. Liza is regarded as one of the most distinctive singers of her generation; so why get three backing singers to drown her out? It makes no sense. There's another orchestral version of a Pet Shop Boys song with "Tonight is Forever" but the magic of "Rent" is missing. The perfect finishing track "I Can't Say Goodnight" is in a fine cabaret tradition but with a synth-pop twist. This is an enjoyable album but it lacks consistency and one or two of the song choices are questionable. 3/5

One record at a time: 257. Massive Attack - Heligoland

Having enjoyed Massive Attack's first two albums, I bought the single "Risingson" as soon as it was released in 1997. However, I found this song so disappointing that I didn't even investigate parent album "Mezzanine" when it was released the following year. Like everyone I heard "Angel" incessantly on movie trailers and TV shows, but it wasn't enough to pique my interest and I left Massive Attack behind for a time. 

My interest in the band was rekindled in 2010 and when The Vinyl Factory announced a special edition of new album "Heligoland", it looked so good I decided to order it. As I mentioned in the post for Hot Chip's "One Life Stand", The Vinyl Factory used to make really sumptuous collectors editions by bands you had actually heard of, but sadly this is no longer the case.

This really is a lavish package with glittery artwork and heavy paper stock. There are three 180g vinyl discs and a CD housed in a three panel gatefold sleeve; it's all very impressive - right up until you play it. That's not to say the vinyl is a bad pressing; far from it. It's the music that is lacklustre here. 

Opening track "Pray for Rain" features some distinctive rolling toms and the voice of Babatunde Adebimpe in what is a departure from the traditional Massive Attack sound. There aren't really any samples being employed and there is a greater emphasis on acoustic instruments than on previous efforts. The second track "Babel" features bass and drums that sound like a 'band in a room' recording - which is really disappointing to hear from an artist that had previously pushed the boundaries of electronic music. "Splitting the Atom" and "Girl I love You" see Horace Andy providing his distinctive vocals over flat and disappointing backing tracks that make you wonder if this is the same band that created "Unfinished Sympathy". The panned guitar samples of "Psyche" provide something a little more sonically interesting but it's not enough to rescue the track.

The second slab of vinyl opens with the terrible "Flat of the Blade" which is a perfect demonstration of the tuneless drivel that can be generated when a collection of illustrious musicians begin to mess about in the studio and nobody from the record company dare tell them what they are producing is crap. One of the best songs on here is the sublime "Paradise Circus" which features the vocals of Hope Sandoval. There's a messy guitar based track in the form of "Rush Minute" and as I dislike Damon Albarn's voice, I can't wait for "Sunday Come Slow" to end. The final album track "Atlas Air" has a nice groove but I still can't help but wonder how much better it would have been if it harnessed the traditional sound of the band.

The third disc features the Gui Boratto remix of "Paradise Circus" which adds a nice electronic feel and there is a disappointing remix of a track called "Fatalism" (a track I wasn't aware of prior to owning the record). "United Snakes" is a former b-side that doesn't do a lot but at least features some nice electronic synth sounds. The best part of the whole package is left to last with the fantastic She is Danger remix of "Girl I Love You". This mix provides structure and cohesion to the slightly disjointed original and adds a brilliant rumbling bassline. 2/5