NEIL INNES/How Sweet To Be An Idiot (review)

Neil Innes was best-known for his work with the Bonzo Dog Doo-Dah Band, The Rutles, and his association with Monty Python. However, it almost seems unfair that a gentleman so musically gifted is remembered for his humor more than his fantastic and wildly eclectic back catalog of great songs. From his ‘60s recordings with the Bonzos to his final album released just prior to his death in December, 2019, Neil Innes was an exceptional songwriter, taking his influences, blending them together and creating many instant classics. He may not have been prolific, but he sure made each release matter.

HOW SWEET TO BE AN IDIOT was his official solo debut album after five albums with the Bonzos (1966-1972), one with The World (1970) and two with Grimms (1973). While his overall history of bing involved with humorous projects and the title and album cover of HOW SWEET TO BE AN IDIOT may lead you to believe that this is a comedy album, that isn’t entirely true. The album is funny, fun, eccentric, and eclectic but it shouldn’t be filed under ‘comedy’ in your local shops. This is a Pop album, through and through.

If you loved Innes’ work with the Rutles, there are certainly plenty of musical nods to The Beatles here, although they are far more subtle than anything by the Rutland lads. “Dream (On)” could be a Ron Nasty solo release, followed by “L’Amour Perdu”, which could be a Rutles-era Dirk McQuickly vaudeville-influenced nuggets. Then again, “Momma B” could easily have been a Rutles rocker…

There’s more to HOW SWEET TO BE AN IDIOT than Rutles references. “Song For Yvonne” is the perfect vehicle for his eclectic creativity and his gift or melody. “Immortal Invisible” has a wonderful Gospel groove. “Topless-A-Go-Go” could have been recorded in the middle of a New Orleans bender. “Feel No Shame” is a good-time rocker with a shot of Rhythm & Blues – and boy does that instrumental riff sound familiar! The album’s closers are the most serious cuts on the album – “This Love of Ours” and “Singing A Song Is Easy”. The former is a heartfelt, moody mid-tempo ballad with a slight reggae stomp, while the latter is a melodic, uplifting sing-along with a hint of Gospel and a touch of melancholia. If all you’ve heard is his more humorous material, you’ll be surprised at how emotional Innes can be on these last two tracks.

And about the title track, “How Sweet To Be An Idiot”… this reviewer used to own a vinyl copy of the album that featured the ‘piano and vocal’ version of the song, so hearing the ORIGINAL album version with full band and string quartet was a surprise and a real treat. The two different arrangements may be radically different, but the feel – the ‘vibe’, if you will – is still very similar.

BUT WAIT! THAT’S NOT ALL!

This expanded reissue features 10 bonus tracks including the ‘piano and vocal’ version of “How Sweet To Be An idiot”, and some great non-album material including the miraculous “Recycled Vinyl Blues” (you have to hear it to believe it!) and so much more.

HOW SWEET TO BE AN IDIOT is proof that Neil Innes should be considered, first and foremost, a musician and songwriter before you even add in humorist, comedian, or whatever silly names you want to throw at him. Don’t think of him as a former Rutle, Bonzo, or Python – just think of him as Neil Innes. You’ll rest easier at night, trust me.

Rest in peace, Mr. Innes.

Keep on truckin’,

Stephen SPAZ Schnee

CHRIS RAINBOW’s White Trails CD reissue reviewed!

Scottish singer/songwriter Chris Rainbow (1946-2015) is one of those artists that appeals to different groups of music fans depending on which projects they are more familiar with. His vocal work with The Alan Parsons Project has earned respect from legions of APP fans, his UK hit singles attracted attention in the ‘70s and his production work is highly respected. However, Beach Boys and vocal harmony fans have long held him in high esteem for his often-overlooked album output. 1979’s WHITE TRAILS was his final studio vocal release and shows that he was poised to bridge the gap between the wonders of his previous albums (1975’s HOME OF THE BRAVE and ‘78’s LOOKING OVER MY SHOULDER) and the promise of the ‘80s (i.e.: Electronic Music). Unfortunately, he turned his attention away from solo material and WHITE TRAILS remains his final foray as a front man.

HOLLYWOOD BEYOND – IF (Deluxe 2CD Edition) reviewed by The Chancellor

The year 1987 was a transitional year for music. New Wave was no longer ‘new’, Prince had changed the Soul, R&B and Funk landscape and Rock ‘n’ Roll was in the clutches of the big hair brigade (Glam Metal). For some, it was depressing, but if you were the adventurous sort, you could find so many bright lights between all the nooks and crannies. Mark Rogers (AKA Hollywood Beyond) was one of those artists whose musical output shone brighter than most. His blend of Pop and R&B walked the thin line between both genres yet didn’t fall victim to either. Released in 1987, Hollywood Beyond’s only full-length album, IF, was an album that should have appealed to those that adored Terence Trent D’Arby and other like-minded artists that forged their own paths while paying homage to their influences.

Chris Squire’s FISH OUT OF WATER reissued! Limited Edition Boxed Set and 2CD Set!

LIMITED BOX SET

(Includes 2CD, 2DVD, 1LP and 2×7-inch singles)

AND

TWO CD SET

4.27.18

Esoteric Recordings are proud to announce the release of an official limited edition deluxe boxed set of Yes founder Chris Squire‘s legendary 1975 solo album FISH OUT OF WATER. Recorded in the late Spring and Summer of 1975 whilst Yes was on hiatus as members recorded their respective solo albums, FISH OUT OF WATER was a breath-taking work, and equal in standard to any Yes album in terms of sheer invention and creativity. The album was essentially a collaboration between Chris Squire and his friend Andrew Pryce Jackman, a gifted arranger who had been a member of The Syn, Squire’s pre-Yes group. The sessions saw contributions from former Yes drummer Bill Bruford, Yes keyboard player Patrick Moraz and noted musicians Mel Collins and Jimmy Hastings. Released in November 1975, FISH OUT OF WATER was a Top 30 chart hit in the UK and made the US Billboard Top 75 album chart, going on to sell nearly 500,000 copies worldwide.

ALTERED IMAGES: The Epic Years (4CDs) reviewed!

Regardless of what the naysayers think, the ‘80s was an extremely exciting decade for music. From Punkto Post-Punk, Power Pop to Synthpop, New Wave to New Romantic, there was so much creativity in the air. Punk had come along in 1976 and levelled the playing field, allowing bands to create new musical genres, of which there were many. On any given week, you could buy new releases from artists like A Flock Of Seagulls, Gang Of Four, The Icicle Works, Peter & The Test Tube Babies, Spandau Ballet, XTC, Squeeze, Culture Club, Split Enz, Madness, Blancmange, PiL, The Clash, The Human League, The Jam, Siouxsie & The Banshees and so many other remarkably talented bands. Sure, there were second and third tier bands that seemed to jump on whatever bandwagon was the most popular at the time but by and large, there were many unique bands that really stood out from the pack. Altered Images was one of those bands and THE EPIC YEARS (4CD) is all the proof you need! This box set contains the band’s three studio albums (with bonus tracks) plus an additional CD containing nine extended remixes. THE EPIC YEARS is the definitive Altered Images collection and should be a part of any serious music fan’s collection. Ahem, that means YOU, the reader!

ERIC STEWART: An EXCLUSIVE interview with the former 10cc member and Rock icon!

A SILLY PHASE I’M GOING THROUGH:

It is quite possible that you have something by Eric Stewart in your music collection at this very moment without even realizing it. Eric was a member of Wayne Fontana & The Mindbenders, eventually singing lead on their 1966 hit “Groovy Kind Of Love” after Fontana had left the fold. By 1969, with the Mindbenders in his rear view mirror, Stewart was recording backing tracks for Bubblegum hits at his Strawberry Studios facilities. His recording mates included hit songwriter Graham Gouldman and multi-instrumentalists Lol Creme and Kevin Godley. In 1970, Stewart, Creme and Godley released the surprise hit “Neanderthal Man” under the group name Hotlegs. Two years later, American singer/songwriter Neil Sedaka arrived in the UK in hopes of recording new material and making a comeback. His backing band featured Stewart, Gouldman, Godley and Creme. Sedaka and this quartet of talented musicians recorded two albums together, both directly responsible for the enormous success that Sedaka and 10cc would achieve within a few short years.

THE INMATES/The Albums 1979-1982 (3CD set) reviewed!

In the late ‘70s, the Rock world was being turned on it’s head by Punk and New Wave. The pretentious ‘old guard’ (i.e. Prog rockers, Folk singer/songwriters, Pop stars, etc.) were
handed their walking papers by the press, who latched onto the shouty, belligerent Punk kids. By ’79, you were more likely going to read about the exploits of Sex Pistols, The Damned and The Clash before you’d stumble upon a review of ELP’s latest live gig. And by that time, reviews of ELP, Yes and the like were leaning towards scathing.

However, while the press fell over themselves to discover the latest Punk craze, Pub Rock and British Rhythm & Blues was also a happening thing. Dr. Feelgood were already established and Nine Below Zero were on their way to becoming legendary. While not always recognized as such, The Inmates were certainly one of the best of the Pub/R&B bunch (in fact, they still are!). With Cherry Red’s three CD box set, THE ALBUMS 1979-1982, The Inmates are finally receiving the credit and attention that they deserve. Containing the band’s first three studio albums (plus bonus tracks), this is a long over-due look at the band’s excellent early output.

BRONSKI BEAT: An EXCLUSIVE Q&A with Steve Bronski!

It has been 33 years since Bronski Beat arrived on the music scene with their remarkably emotional debut single “Smalltown Boy.” Jimmy Somerville’s soaring falsetto was quite a wonder to behold but the music performed by Steve Bronski and Larry Steinbachek was equally enthralling. Equally enchanting, the band’s debut album THE AGE OF CONSENT was Synthpop at it’s finest. Inspired by classic Disco and the Electronic Music scene that was sweeping the UK, the trio blended their influences into a wondrous brew. Add in their thought-provoking lyrics that focused on gay-related issues and you had a band that not only made you dance but also made you think. Surprisingly, in 1985, at the height of the band’s popularity, Somerville abruptly quit, leaving Bronski and Steinbachek to carry on without him. The following year, the band returned with new vocalist John Foster and released the Pop-errific sophomore album TRUTHDARE DOUBLEDARE. Although “Hit That Perfect Beat” and “C’mon! C’mon!” were hits, the album didn’t fare as well as their debut and the band left their label (London Records). Foster left the fold and Bronski and Steinbachek’s continued to work together throughout the rest of the ‘80s and into the ‘90s. They released their third album, RAINBOW NATION, with new vocalist Jonathan Hellyer and additional musical assistance from Ian Donaldson. However, the band quietly split in 1995 shortly after that album’s release.

HOWARD JONES/Best 1983-2017 (3CD) reviewed!

While he achieved a lot of chart success early in his career (1983 to 1989) and still tours and releases new music, Howard Jones’ musical legacy has been somewhat overlooked since his heyday. While he certainly hasn’t been forgotten, he has become increasingly difficult to categorize… which is both a good and bad thing. He’s been labelled a Synthpop artist, a teen idol, a New Waver and an Electropop pioneer while also being lumped into the Adult Alternative category. Some have even pointed out his Jazz-influenced chord progressions and R&B leanings. In all honesty, Howard Jones is all of this and more. And thankfully, Cherry Red has just released the three CD BEST 1983-2017, which really showcases Howard’s many talents. A set this comprehensive reminds the listener that Howard Jones is much more than an “’80s relic”. He was never a one-trick pony and this release backs that statement up.

KASHIF/Help Yourself To My Love: The Arista Anthology review!

Kashif Saleem – formerly a member of Funk giants B.T. Express – was at the forefront of synth-fueled smooth R&B in the early ‘80s. He was one of the first artists to embrace modern technology when it came to creating Soul and Funk music yet he still managed to make it sound human and heartfelt. While his name may not be as well-known as many of his technology-loving contemporaries like Stevie Wonder, Kashif helped usher in a new kind of sound that changed the course of Soul and HELP YOURSELF TO MY LOVE: THE ARISTA ANTHOLOGY is all the proof that you need. Spanning the years 1983-89, this is ‘80s electronic Funk/Soul/R&B at its finest.

Alliance Entertainment Blog

Tag: Cherry Red