Edwyn Collins "Badbea" (2019)

Badbea
release date: Mar. 29, 2019
format: digital (12 x File, MP3)
[album rate: 3,5 / 5] [3,54]
producer: Edwyn Collins, Sean Read
label: Analogue Enhanced Digital - nationality: Scotland, UK

Track highlights: 1. "It's All About You" - 3. "I Guess We Were Young" - 5. "Outside" - 6. "Glasgow to London" - 10. "I'm OK Jack" - 12. "Badbea"

9th studio solo album by Edwyn Collins released by Collins' co-founded micro label AED is his first album out in six years - following Understated from 2013. Stylistically, it's a blend of the many styles Collins has been involved with in his long musical career. It contains elements of pop soul, sophisti-pop, indie pop and singer / songwriter, but it's first and foremost a quite coherent output. There's the ever-present echo of an ancient proto-punk energy, which makes me think of The Stooges and Patti Smith. It's psychedelic rock bits and pieces, art punk twists with screaming horns and also a very present subtle caring in ballad-like and honest-to-the-bone songs of present days - delicately woven songs with acoustic guitars and his charismatic crooning. On top of that there's also left room for electronic traits scattered around to widen the stylistic expression rather than the attempt to take control of songs. And quite surprisingly, it doesn't feel much like the usage of too many styles. And I think, primarily thanks to the production sound and Collins' dark vocal, which cleverly binds it all together.
The front cover depicts Collins in a confronting fragile portrait hinting to his physical conditions after multiple cerebral hemorrhages that struck him around 2005.
This is a warm grower and a recommendable listen. It's so great to see and hear Collins back!!
[ allmusic.com 4,5 / 5 stars ]

Orange Juice "Rip It Up" (1982)

Rip It Up
release date: Nov. 1983
format: cd (1998 reissue)
[album rate: 3,5 / 5] [3,66]
producer: Martin Hayles
label: Polydor - nationality: Scotland, UK

Track highlights: 1. "Rip It Up" (4 / 5) (live) - 2. "A Million Pleading Faces" - 3. "Mud in Your Eye" - 4. "Turn Away" - 6. "I Can't Help Myself" (live) - 7. "Flesh of My Flesh"
*The 1998 remaster contains 3 bonus tracks

2nd studio album by Orange Juice released only nine months after the debut from Feb. '83 doesn't sound much like the former, and basically more than anything reflects the band's transformation rather than its natural progression. Fact is, both drummer Steven Daly and guitarist James Kirk left the band soon after having released You Can't Hide Your Love Forever. Replacing members are guitarist Malcolm Ross (ex-Joseph K) and drummer Zeke Manyika. Having substituted half of the band the end result is noticeable. The music is still indie pop, but what was left of post punk influence seems abandoned here. There's also less focus on the bold jangle pop element that had put the band alongside its Glasgow comrades in Aztec Camera. Instead, this new formation has put emphasis on funk and African music influences, and I can't help thinking that they play closer to the many sources of inspiration one will hear in music by Talking Heads - also with a distinct new wave touch that wasn't found on the predecessor.
I don't recall hearing the album back in '83, although, I'm quite certain I came across the title track, which I thought had a great guitar hook in the chorus, but after my first listens back when the album was re-issued (the remastered edition of '98), I must say that I find it a clearly lesser album compared to the strong debut. Edwyn Collins still sings in his highly original way, which then almost is the only common ground one will find on the two albums.
The album peaked as number #39 on the UK albums chart list, but the single release of the title track reached number #8 on the singles list making it the band's only true hit. Subsequently, also track #7 was issued as a single but only reached a position as number #41. The album is enlisted in "1001 Albums You Must Hear Before You Die".
Rip It Up undoubtedly sounds more polished but it also points in many directions and despite the extraordinary songwriting craftmanship of Collins it's an album left without that something that could've held it all together. It's not that the songs are poor compositions, 'cause several great tracks appear here, neither lacks the band skilled instrumentalists - the songs just fail to summon up a sensation of cohesion. The album remains quite remarkable but also somewhat unfinished.
[ allmusic.com 3,5 / 5 stars ]

Orange Juice "You Can't Hide Your Love Forever" (1982)

You Can't Hide Your Love Forever
release date: Feb. 1982
format: digital (1998 re-issue)
[album rate: 4 / 5] [3,94]
producer: Adam Kidron
label: Polydor Records - nationality: Scotland, UK

Track highlights: 1. "Falling and Laughing" - 3. "Wan Light" - 4. "Tender Object" - 6. "L.O.V.E. (Love)" - 8. "Upwards and Onwards" (4 / 5) - 10. "Three Cheers for Our Side" - 11. "Consolation Prize" - 12. "Felicity"

Studio album debut by Scottish quartet Orange Juice, founded in 1979 [formerly known as Nu-Sonics from 1976-79 with Edwyn Collins, Alan Duncan, James Kirk and Steven Daly] and here made up by Edwyn Collins on lead vocals and guitar, James Kirk on guitar and vocals, David McClymont on bass guitar and with Steven Daly on drums and percussion. Nine of the album's 13 tracks are composed by Collins, and three are by Kirk and track #6 is a cover written by Al Green, Mabon 'Teenie' Hodges and Willie Mitchell.
Stylistically, the album may be part of the wide post-punk label as a natural consequence of being released in the early 80s, but the link to any punk rock traits is really not here. Instead it's associated with blue-eyed soul and more adequately labelled as jangle pop and indie pop as one of the absolute first of the genre, which would pave way for sofhisti-pop, and its' an album that played a major role as inspiration for bands in the early 1980s.
One of the band's most characteristic features is the vocal of Edwyn Collins, and at the time, I mostly found it too peculiar to really consider the band one of my favourites. In hindsight though, it's no wonder Mr. Collins has been mentioned as a remarkable singer and songwriter. The sound of the band is quite unique and the inclusion of brass, strings and harmony vocals makes me think of the band as a unity with links to the blue-eyed soul and baroque pop of the 1960s.
The album became the band's best charting album reaching number #21 on the albums chart list in the UK. In retrospect, one should perhaps praise the band and Collins (in particular) more for being an obvious source of inspiration for bands like Aztec Camera, The Go-Betweens, Everything but the Girl, The Divine Comedy and The Smiths.
[ allmusic.com, Smash Hits 4 / 5 stars ]