Happy Birthday to Me

Here is another attempt at starting a blog. A few weak attempts over the last decade & more have come to nothing. The idea this time is that I'll start writing a little about LPs and CDs from my collection, as suggested by the 'Random Item' button at Discogs. Up first is Happy Birthday to Me by The Muffs.

I now have a copy of the 2017 issue from Omnivore Recordings on white vinyl, but I first bought this album on CD, not so long after its release some twenty years earlier. My recollection is of picking it up in Birmingham, where I'd sometimes stop briefly while travelling by train from Tamworth or Nuneaton back to Cardiff. I would have first listened to it on my 'Discman' while reading some magazines: such quaintly dated pastimes now.

I was already a Muffs fan, and a proud owner of Blonder and Blonder, and this album was in no way a disappointment: both were well-loved, and well-travelled - and both CDs ended up badly scratched with their cases broken, hence my delight when the vinyl re-issues were announced. These songs hit a perfect spot for me: short & sour-sweet, and the first half-dozen tracks on this album make me particularly happy. Side B isn't quite as strong overall - but, with the possible exception of the jokey untitled closing track, it's still a delight. Omnivore did a great job with the re-issue too.

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All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E

Bananas Are Not Created Equal

I knew Jay Berliner's name from his contributions to Van Morrison's Astral Weeks and Charles Mingus' The Black Saint and the Sinner Lady , so when I saw this curiously-titled LP at the local charity shop I was intrigued, and bought it even though I had no idea what kind of music it might contain. This was after the days when one could still buy records there for a pound apiece, but I don't think I paid more than a fiver for it. The music turned out to be an all-instrumental blend of funk, soul & jazz. Berliner's virtuoso lead guitar is only one of many attractions here. The band of first-rate session musicians behind him are all uniformly excellent too, and, crucially, sound like they're having a blast. Cornell Dupree's supporting guitar work, while less showy than Berliner's, is beautifully-judged, and the rhythm section is terrific. Arranger/conductor Wade Marcus was no slouch either, judging from the way everything comes together. Two of the funk

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