Quazarz: Born On A Gangster Star

I've only owned Quazarz: Born On A Gangster Star (and its companion-piece Quazarz vs. The Jealous Machines) for a couple of months, and have only listened to them a half a dozen times apiece and am still getting to know them, so I don't have well-formed opinions to express about them except that I love the sleeve art for the former (the work of London-based artist Isvald Klingels). Both albums were CDs bought very cheaply from an ebay seller.

My ears perked up to the sound of the track 'Moon Whip Quäz' when it came on the radio back in 2017, its melody line very reminiscent of that of Kraftwerk's 'Das Model'. From there I checked out more of their music on YouTube (including the remarkable video for 'Shine a Light' - also on the album), but I didn't follow through and spend a little money on the music until this year.

I've seldom connected with rap or hip-hop, despite it having been part of the cultural background for forty-odd years. Among a handful of exceptions: Licensed to Ill was among my early cassette purchases; Public Enemy's It Takes a Nation of Millions... blew my mind; and I bought Three Feet High and Rising when it came out. After gangsta rap became the dominant style I paid even less attention, but the pandemic sparked a slight revival of interest so I'm hoping to get some more of the weirder & wonderfuller rappers' work on my shelves before too long.

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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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