Annette Peacock - "I'm The One" by Tosh Berman

 

Annette Peacock - "I'm The One" by Tosh Berman

David Bowie - "Metrobolist (Nine Songs by David Bowie) Parlophone

 

In our reality, David Bowie is Elvis Presley. Not only do they share the same birthday and both recorded songs called "Black Star," but also in death, their music is released and looked as new. Tony Visconti, a significant figure in Bowie's career and music, has done a series of classic Bowie work remixes. One may think this is nothing but exploitation or a grasp to make more money in the memory of David Bowie. The truth is, Visconti has done magnificent work as a remixer as well as the original producer of these recordings. It's an artist (as producer) going back to his canvas to clean or refresh the imagery on one level. "Metrobolist" (Nine Songs by David Bowie)" is such a work. Most of us fans and consumers know this album as "The Man Who Sold The World," but it seems that wasn't the original title that Bowie given this record. At the last moment, the label changed titles without Bowie's knowledge at the time. 

"TMWSTW" has always had a muddy sound that made the songs heavy and mono-orientated sounds. It's like someone taking a shovel of mud and throwing it in your face. My first reaction to the album in 1972 was that this is a hard rock record compared to "Hunky Dory," his next album at that time. It's obvious to a listener in the early 70s can see Bowie worked from a broad landscape of different worlds sound-wise. "TMWSTW" is a great album and will always be an essential recording from a legendary artist. Including the contributions from Mick Ronson and Visconti knew how to take Bowie to the next level. "Metrobolist" is a mirror reflection of that album but cleaned up and allowing more textures to be added for the supreme listening experience. 

Nuances show up, more than 'ah-ha' moments while listening to "Metrobolist." The vocals have a touch of more echo. Still, the drums' presence mixed to another volume is especially lovely, and hearing the layered guitars from Ronson and the acoustic guitar work from who I think is Bowie. The Moog is also clearly heard in these new mixes. When you hear "Metrobolist," I hear or more aware of the arrangements. It sounds like a work from a band (Visconti, Bowie, Ronson, drummer Mick Woodmansey, and Ralf Mace, who is credited for the Moog playing and Mick Ronson) than a solo artist. 

"The Supermen" is incredible here, with the galloping drums by Woodmansey. If you're a Bowie fan, this is a must-hear or buy. Beyond that, both albums are superb, and now both in print. The world is a better place with "The Man Who Sold The World" as well "Metrobolist." 

Annette Peacock "I'm The One" RCA Records (1972)

Annette Peacock "I'm The One" (RCA Records)  1972

I'm approaching this album as a David Bowie lunatic-fan.  And beyond that, more likely through a Mick Ronson (Bowie's guitarist in the Ziggy years) connection.   Annette Peacock put out an album in January 1972, called "I'm The One" on RCA Records.   In 1974, Ronson made his first album, and on that record he did a version of two Peacock tunes,  "I'm The One," Seven Days", and oddly enough, an Elvis' "Love Me Tender," which is more of a cover of Annette Peacock's version of the Elvis classic.   So many years later, it was astonishing to hear Peacock's album.

When hearing the album now, one can hear slight traces of the Bowie/Ronson sound, but also Mike Garson, the long term keyboard player for Bowie, also appears on this album. Perhaps before his association with Bowie?  Nevertheless, it can be just a matter of taste, but I do believe there is a link between this album and the world of Bowie.  Besides the obvious, like the Ronson connection, this is a very strong soulful jazzy avant- pop with an unique way of handling a moog.  Great jazz players on this album, like her husband at the time, Paul Bley, makes this a fascinating listen.  The first minute or two of the title song is simply majestic, due to its orchestration, and it reminds me a bit of Bowie's "Sue."   Not surprising, because this is music once heard, will stick in your DNA for awhile.   And it's like three different tunes wrapped in this one song.  And again, the arrangement is multi-textural.  The moog playing with the horns and the voice (which I believe she sings through the moog) is both soulful as well as being futuristic, in that 70s sense, sound.   There is likewise a Nina Simone touch throughout the album.  A perfect hybrid of jazz, songwriting pop, Brazilian music and avant-garde flourishes here and there.

And again, it's enchanting that Mick Ronson cover three songs from this album, on his first solo effort.  Ronson is for sure a musician who loves arrangements.  And this album is very much about jazz orchestration as well as being off-kilter pop.  A great record.

May 26, 2014

May 26, 2014

It was a happy shock to me when I heard that my book “Sparks-Tastic” was up for the Prix Goncourt last December, but alas I didn’t win, due that that prize goes to French language authors, and somehow, even though I do have some French blood (mostly Canadian to be honest) running in my veins,  I’m neither a citizen of a French providence nor can I read or speak French.  But in spirit, of course I’m French.  So I was disappointed that I didn’t get the prize and the fact, technically, I shouldn’t have been on the list in the first place.  Which now comes to mind, I despise any hint of nationalism in one’s art or even behavior.  Technically I’m an American, but what does that mean?  To this moment, it still bothers me a great degree that no American has participated in the Eurovision song contest.  What I find irritating is the case that a lot of European artists sing in English, yet, where are the Americans?

Miles Davis tried to get on the show in the late 1950s, with a pick-up band of Juliette Gréco and Catherine Sauvage sharing lead vocals, Johnnie Ronson (Mick’s dad), and Peggy Lee doing some scat vocalizing in the background - yet, unbelievably, they were not chosen to be part of the event.  Although, and I do admit, that there were different nationalities in this line-up, but still, shouldn’t the Eurovision judges acknowledge the talent behind this one-off band?   As an American (therefore a humanist) I find it totally disgusting how art is placed in a box, and not allowed to sing out, whatever it is in song or in my profession, words.  And I should also like to say, not just words, but words arranged on a page in a specific manner.

Now, that I brought up this subject matter, I need to be honest with all of you.  I resent being in contests, and then… losing.   Why invite me in the first place, and then denounce yours truly by not giving one the prize that they so richly deserve?  It’s insane!  Nevertheless let by-gones be by-gones and focus on the present.  As a youth I ran across an interesting street musician in mid-town Manhattan, who wore a Viking costume, and I was struck by his amazing music and being such an astonishing and forceful individual.  When you take a walk, not expecting what will hit you…, well it’s a stunning moment.  Now whenever I put my pen onto paper, I will not forget that moment, and will wander till I find it again.