Shriekback: Oil And Gold (Island Records/1985)

Shriekback's third album finds ex-XTC keyboardist Barry Andrews, ex-Gang Of Four bassist Dave Allen and ex-Out On Blue Six guitarist Carl Marsh's collectively greatest vinyl moment. Oil And Gold is the perfect transition from quirky outsider minimalist funk band to alternative commercial band. The album is perhaps their most diverse offering. It contains their most well-known hit in “Nemesis”, which is something of a mid 80's classic. “Fish Below The Ice” is also a fairly-successful single.

“Faded Flowers”, “Only Thing That Shines”, The Big Hush” and “Coelcanth” form something of a quiet calm suite. “Malaria” (which came this close to being issued as a single) and “Everything That Rises Must Converge” are both winning songs.

This was the last album to feature Marsh as lead vocalist, before the role was taken by creative leader Andrews. His whispering vocals are effective within the context of the bands inner logic.

This is a very good album and something of a forgotten mini-classic.

Here's the video review:

XTC: English Settlement: Deluxe Edition Box Set (Ape House/2016)

XTC were one of the most important, influential and experimental bands to come out of the UK Punk/New Wave movement. For the last few years they've been releasing definitive, deluxe versions of their albums (both on Blu Ray and on Vinyl). Last Summer yielded vinyl releases of both English Settlement and Skylarking. English Settlement is easily on of the bands' best albums; "Senses Working Overtime", "Ball & Chain" and "No Thugs In Our House" were the singles. Noteworthy album tracks include: "Jason And The Argonauts", "Melt The Guns" and "English Roundabout". The band has an easy confidence to their playing and sound at the top of their game.

As far as definitive vinyl box sets go, it doesn't get much better than this.
Double album on 200 gram vinyl, a CD flat master of the album, a sixteen-page booklet with very detailed liner notes written by all four members of the band, and lyrics for all songs. The audio source is the original half-inch masters.

Very highly recommended to fans of XTC and to anyone not familiar with the band; do yourself a favor and check out this album, Black Sea and/or Drums And Wires.

Here's the video review:


Special Thanks to: Dave Rerecich of TeeVee Games.

Barry Andrews: Town And Country EP (Virgin/1979)

Barry Andrews was the keyboard player for XTC from 1976 to 1979. He appeared on one EP (The
3-D EP), two albums (White Music and Go 2) and four singles. He was largely responsible the band's whimsical funhouse sound. He quickly grew tired of being a third wheel to dominant composers Andy Partridge and Colin Moulding. Virgin Records however loved his contributions to the band and upon leaving XTC released his first three solo singles. The first of these was the Town And Country EP which was released in May of 1979.

It contains some of Barry's whizzing organs and keyboards albeit in an understated way than on his records with XTC. Colin Moulding is the bassist on the EP which features an outtake from Go 2, “Sargasso Bar”. “Me And My Mate Can Sing” is perhaps the records' catchy stand-out track and appears to reference groupies or hanger-ons. “ Mousetrap” and “Bring On The Alligators” are measured, punky, cockney mini-rave-ups.

The EP was produced by Martin Rushent (who had produced XTC's “Are You Receiving Me” single) and engineered by Hugh Padgham (who later engineered XTC's Drums & Wires and Black Sea albums). I personally like it as it fills a gap between Barry in XTC and his time in the bands Resurant For Dogs, The League Of Gentleman and his formation of Shriekback with Dave Allen of Gang Of Four.

For fans of XTC and Shriekback or late 70's Post Punk.


Here's The Video Review:

Jellyfish: The Scary-Go-Round EP (Charisma 1991)

San Francisco California's Jellyfish had some minor initial commercial success. Their brand of Badfinger meets The Partridge Family and XTC pop was popular enough critically circa 1990/1991 but never really received the widespread attention it really deserved. Their debut album Bellybutton spawned five singles, one of which ("Baby's Coming Back") even reached number 62 on Billboard's Hot 200 chart. One single was released as part an EP.

That song was "Now She Knows She's Wrong". It's a power pop meets bubblegum confection with Steve McDonald of Redd Kross guesting on bass. It starts with a minor-key Partridge Family synthesized harpsichord part. It isn't long before sleigh bells ala Brian Wilson and glockenspiel join-in. And after two-minutes and thirty-five seconds the song is over. "Bedspring Kiss" is a five-minute long groovy piece of nuevo cocktail-lounge and exotica noir that references cocaine and heroin use with a bridge that sounds like a missing link from Pet Sounds. It is one of several highlights from the Bellybutton album.

The B-Sides of the Scary-Go-Round EP are nice live obscurities. There are variations between the 12" EP, CD EP & 7" EP. Each come with two live tracks per-B-Side. The CD contains "Let Em In/That Is Why" & "The King Is Half-Undressed". The former is a medley of the intro and chorus of the Wings hit single for the Summer of 1976 and segues into the Supertrampesque "That Is Why". This medley was recorded live at Bogart's and was finally issued (along with the rest of that complete 2/21/91 performance) on Omnivore Records' Live At Bogart's. The latter is a great performance of their debut single (also on Bellybutton) and was recorded at LA's The Roxy and subsequently was released (along with several other tracks from that show) on the now-ultra-rare box-set Fan Club. 

The Vinyl 12" & 7"'s tracks all come from their 2012 release of Live At Bogart's. Those tracks are the stately monster of a track "The Man I Used To Be" and "Calling Sarah" which musically sounds like the lovechild of Brian Wilson and Paul McCartney. It is perhaps Jellyfish's greatest single sleeper/dark horse of a song. "She Still Loves Him" tells of an abusive relationship whilst sounding like the Badfinger backing The Beach Boys. "Baby's Coming Back" (the band's lone minor-hit) which is a tale of promises of giving up the fast life for one particular girlfriend and actively references The Partridge Family's "C'mon Get Happy" in the song's coda.

If you're a fan of the band, who've since acquired something of a substantial cult-following since their break-up in 1994, I'd recommend picking up the EP. It's a nice little slice of what made Bellybutton so great. It also shows the band in a live-context, which for a band renowned for their studio wizardry (especially on Spilt Milk) they probably doesn't get too much notice for. This is a small slice of Jellyfish's Power Pop Heaven.

Here's the video review:

Special Thanks to: Charisma Records.