Day 0822 - Oedipus Schmoedipus

Barry Adamson "Oedipus Schmoedipus" (1996)

 

I really enjoyed Barry's "Moss Side Story" (see day 654) and its mix of soundtrack composer vibes (Bernard Hermann, Angelo Badalamenti et al) and sonic experimentation.

Barry continues with that sound here, but with a bit more vocal input this time around.   From the opening choir at the start of the Jarvis Cocker-featured "Set the controls for the heart of the Pelvis", the sultry "Achieved in the Valley of the Dolls", the spoken word of "Vermillion Kisses" and Barry's former Bad Seeds bandmate Nick Cave featured on "the Sweetest Embrace"

Possibly less cohesive than "Moss Side Story" but still an enjoyable collection of sounds.

Day 0654 - Moss Side Story

Barry Adamson "Moss Side Story" (1989)

Barry had amassed a pretty impressive portfolio prior to this album.  He'd played in Magazine, the Buzzcocks, Nick Cave and the Bad Seeds and a couple of other acts.   Adamson cast this, his first solo album as the soundtrack to a non-existent film noir.   In part it was a reflection of Adamson's love of film soundtrack music (the influences of composers such as Bernard Hermann, Ennio Morricone and even Angelo Badalamenti are never far away), and in part he set it as a sort of musical CV with which to try and rope in some actual film scoring work.   That did eventually bear fruit and Adamson would go on to contribute scores for films including "Natural Born Killers"  "The Beach" and "Lost Highway".

The album is a masterpiece, mixing noirish jazz, frantic rock interludes, smouldering piano, nightmarish ambience, and even a cheeky wee cover of the theme to "Alfred Hitchcock Presents"  Adamson throws everything he has at the album.  Judging from the album cover (never judge by the cover!) and his connection with the Bad Seeds, I had thought this might be a bit of a crooning record with a touch of murder-blues, but it ended up being so much more.

Day 0408 - Real Life

Magazine "Real Life" (1978)

Another ex-punker's "new band" (after having looked at Public Image Ltd yesterday), this time Howard Devoto who had just recently departed from the Buzzcocks.

Whereas John Lydon went more abrasive and confronting, Devoto added layers of melody, musicianship and quirkiness.

There are still hints of a punk identity to the music but it also suggests a more complex pop sound along the lines of a band like Sparks.