Skip to main content

Friends

I distinctly recall seeing Jeffrey Daniel's famous 1982 appearance on Top of the Pops promoting 'A Night to Remember': which introduced "body-popping" to a fascinated British public. The song, and the three other hit singles that followed it ('I Can Make You Feel Good', 'There It Is' and 'Friends') were very often on the radio and TV that year - and I found them pleasant enough, but my musical attention (such as it was, when I glanced up from my new Sinclair ZX Spectrum home computer) focussed more on the likes of Madness, Soft Cell, The Fun Boy Three, XTC and Yazoo.

Why then should it be that on picking up a copy of Shalamar's Friends at a charity shop six months ago, seeing those song-titles in the track-listing should provoke such a heady surge of affectionate nostalgia? Snippets of the music began playing in my head, and I thought that for the £1 asking price it was well worth taking it home to see how I'd enjoy the album. I liked it very well indeed - and it's found its way back on to my turntable a few times since. I can't say I've formed a considered opinion of the "other" tracks yet, but the album flows together nicely as a well-crafted unit, and there are no duds on it.

The copy I bought is a German-made one with a nicely-designed gatefold sleeve featuring fine pictures of this photogenic group: on the front, Howard Hewett is shown holding a bass, and Jeffrey Daniel a "Flying-V" style guitar - I don't know why Jody Watley couldn't also be furnished with an instrument. As it was, the three of them only contributed vocals to the album, with Hewett and Watley also getting a few co-writing credits between them.

Comments

Popular posts from this blog

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...

Complete String Quartets

While the string quartets of Nikolai Yakovievich Myaskovsky (1881-1950) were all published in the Soviet era, a few of them had pre-revolutionary origins. Two quartets he wrote in 1911 and '09 while a conservatory student re-surfaced some twenty years later designated as Quartets Nos. 3 and 4.  An even earlier "schoolboy" piece was later re-worked more radically as Quartet No. 10, premiered in 1945. Myaskovsky partook of an ample share of the turmoil and tragedy of his times: he was wounded and shell-shocked after service on the front line in World War I, and his father, who had been a high-ranking military engineer, was brutally murdered by a revolutionary mob. Despite that, his music, even at its most sombre, hasn't the black bile or biting sarcasm of Shostakovich's, or of his friend Prokofiev's. Of the works collected here, in excellent early '80s performances by the Taneyev Quartet, only Quartet No. 1 has any significantly metallic tang of early S...