Barry Ryan "We Did It Together" (1970) (single)

We Did It Together, 7'' single

release date: 1970

format: vinyl

[single rate: 2 / 5] [2,18]

producer: Paul Ryan

label: Polydor - nationality: England, UK

Tracklist: A) "We Did It Together" - - B) "Lay Down"

Single release by English songwriter (and photographer), Barry Ryan (Sapherson, aka Barry Davison) of the twin-brother duo 'Paul & Barry Ryan'. This single seems to stem from a time when Barry had concentrated on a solo career while twin-brother Paul assisted him in writing songs and producing, and the title track somehow appear like a most fitting desription of how the two brothers found their way in show business.

This particular Danish print probably comes from my older brother's record collection. I do recall playing this at 7-12 years of age, but it never caught my interest. Stylewise, it sounds much inspired by The Walker Brothers with a love for heavy orchestrated arrangements. Barry and Paul did experience som success after Barry went solo, e.g. with the single hit "Eloise" (1968) (much later also a hit for punk rock band The Damned).

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

The Walker Brothers "Living Above Your Head" (1966) (single)

Living Above Your Head, 7'' single

release date: 1966

format: vinyl

[single rate: 3,5 / 5] [3,68]

producer: John Franz

label: Philips - nationality: USA

Tracklist: A) "Living Above Your Head" - - B) "Young Man Cried"

Single release by US pop trio The Walker Brothers consisting of John Walker (aka John Maus), Scott Walker (aka Noel Scott Engel), and Gary Walker (aka Gary Leeds) none of which were related. The single is a Spanish, Dutch, and Danish only release with the title track taken from the trio's second album Portrait (1966). The title track is a cover by US pop group Jay & The Americans taken [original] from the album Living Above Your Head (1966) - the B-side is credited Scott Walker and producer John Franz.

This particular Danish print comes from my parents' record collection. I recall playing this at 7-12 years of age, and remember finding it one of my prefered singles. Stylewise, it's vocal harmony-based baroque pop.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Jessica Pratt "Here in the Pitch" (2024)

Here in the Pitch

release date: May 3, 2024

format: digital (9 x File, FLAC)

[album rate: 4 / 5] [3,92]

producer: Jessica Pratt & Al Carlson; Peter Mudge; Matt McDermott

label: City Slang - nationality: USA

Track highlights: 1. "Life Is" (TV performance) - 2. "Better Hate" (4 / 5) - 3. "World on a String" (4 / 5) - 4. "Get Your Head Out" - 7. "Empires Never Knows" - 9. "The Last Year"

[ Live on KEXP ]

4th studio album by Californian folk artist Jessica Pratt, which follows more than five years after Quiet Signs (Feb. 2019), and just like that this new album counts nine tracks and a total running time of just under 28 minutes.

It's not far from her 2019 album, but that doesn't necessarily mean lesser. Listening to Pratt in 2024 is like being transported on a time machine revisting the 1960s easy listening / baroque pop-period where she could have listened to Phil Spector, The Carpenters, Nick Drake, and / or Stan Getz and João Gilberto. It's... oh so quiet, a bit other-worldly but altogether very relaxing and comforting like a plaid gently swept over your cold legs on a Winter's night. Pratt has a distinct laid-back alto vocal. At times she reminds me of Richard Hawley but mostly she sounds like no one else, and Here in the Pitch is simply Pratt's best album to date, and what a wondrous release that is.

Here in the Pitch is no less than one of this year's absolute best and a highly recommended release.

[ allmusic.com, Under the Radar 4,5 / 5, Pitchfork 8,8 / 10, 👍The Line of Best Fit 4 / 5 stars ]

Carpenters "The Singles 1969-1973" (1973)

The Singles 1969-1973 (compilation)
release date: Nov. 9, 1973
format: vinyl (1991 reissue) / cd (2014 remaster)
[album rate: 4 / 5]
producer: Richard Carpenter
label: A&M Records - nationality: USA

Compilation of 12 singles by the brother-sister duo The Carpenters - older sister Karen (1950-83) and Richard (born 1946) - over a four year period is an amazing quality collection of baroque pop hit songs.
I vividly recall listening to The Carpenters in my pre-teen years. They were among the most frequently played international artists on national radio alongside Sinatra, The Beatles, and Elvis Presley. I didn't know of any of their full albums but many of these songs were part of a preferred musical selection from very early on, and I just listening to Karen's singing voice makes me remember the house of my childhood.
[ allmusic.com 4 / 5 stars ]

Not this particular album as such, but the Carpenters plays a big part of my earliest music memories that wasn't purely children's songs.

👉 Another one from that earliest stage.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

The Flower Pot Men "Let's Go to San Francisco" (1967) (single)

Let's Go to San Francisco, 7'' single

release date: Aug. 4, 1967

format: vinyl (DM 142)

[single rate: 3,5 / 5] [3,48]

producer: John Carter & Ken Lewis

label: Deram - nationality: England, UK

Tracklist: A) "Let's Go to San Francisco" (part 1) - - B) "Let's Go to San Francisco" (part 2) (parts 1 & 2)

Single release by British pop-project band The Flower Pot Men founded by the two songwriters John Carter (aka John Nicholas Shakespeare) and Ken Lewis (aka Kenneth James Hawker), who experienced some success providing pop songs for other artists in the late 1960s under the name of Carter & Lewis. The project-band was founded by the two songwriters to perform their songs, which was heavily inspired by the sound of The Beach Boys, and Let's Go to san Fransisco was one of their biggest hits.

This particular Danish print of the single was part of my parents' record collection.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Grant Hart "The Argument" (2013)

The Argument

release date: Jul. 23, 2013

format: digital (20 x File, FLAC)

[album rate: 4 / 5] [3,83]

producer: Grant Hart & Mike Wisti

label: Domino - nationality: USA

Track highlights: 2. "Morningstar" - 4. "If We Have the Will" - 5. "I Will Never See My Home" - 7. "Sin" - 8. "Letting Me Out" - 9. "Is the Sky the Limit?" (acoustic live) - 11. "So Far from Heaven" - 12. "Shine, Shine, Shine" - 15. "Glorious" - 20. "For Those Too High Aspiring"

4th and final studio album by Grant Hart released 3½ years following Hot Wax (Oct. 2009) is his first album on a label with some credibility. In recent years, Hart has become a more stable performer, he has fought for musical rights of his former solo releases as well as the music released with Nova Mob - these albums have subsequently been reissued in 2014 on Hart's own label Con D'Or Records. It also seems he has come out in better conditions - on the credit list of the album he addresses: "very special thanks to my friends and familiars who pulled me from smoldering ruins and helped build my New Pandemonium".

The album is of conceptual dimensions being based on John Milton's "Paradise Lost" (1667) and inspired by his friendship with author William S. Burroughs. All music is written and composed by Hart except the lyrics on track #1 by Milton. The Argument was released as a double vinyl album and consists of 20 tracks with a total running time of more than 74 minutes. Nearly all music is played entirely by Hart, who is simply credited 'instruments'.

It's mostly melodic alt. rock and indie rock with the usual bonds to psychedelic rock (tracks #9, #13, #15, #16, #20), oldies / standards (track #17), baroque pop (tracks #2, #4 - 7, #10, #11, #12), rock & roll (tracks #8, #16, #19) and experimental rock (tracks #1, #3, #6, #14, #18). Yes, it's a big mix but it never feels forced or out of context and generally sounds like one coherent whole. Hart plays and sings with strong vitality and he narrates with his blessed sense for melody and song structure without losing focus on the existential themes. Needles say, the album was met by critical acclaim.

Alas, the album was to be Hart's final. He appeared to be back from a life in the shadows - marked by many years with drug addiction and the effects of living with Hepatitis C for more than 25 years. He had gained the ownership rights of his many songs over the years, founded a label and appeared more focused than ever before. In his last years, he was plagued by treatments and hospitalisations. Grant Hart died Sep. 13, 2017 of complications from liver cancer and Hepatitis C.

[ allmusic.com 4 / 5, 👍Pitchfork 8.0 / 10, Consequence of Sound 3,5 / 5 stars ]

[ Grant Hart tribute ]

[ Grant Hart remembered in local news ]

Elvis Costello with Burt Bacharach "Painted From Memory" (1998)

Painted From Memory
release date: Sep. 28, 1998
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Burt Bacharach & Elvis Costello
label: Mercury Records - nationality: UK / USA

Track highlights: 1. "In the Darkest Place" - 2. "Toledo" (live) - 3. "I Still Have That Other Girl" (live on Letterman) - 4. "This House Is Empty Now" - 9. "Painted From Memory" - 10. "The Sweetest Punch" - 12. "God Give Me Strength"

Collaboration album by Elvis Costello and Burt Bacharach subtitled "The New Songs of Bacharach & Costello", which is the result of a collaborative partnership that had been initiated with the song "God Give Me Strength" for the comedy film "Grace of My Heart" (1996). Apparently, all songs were made with Costello writing sketches of songs, sending demos to Bacharach - as well as to Bill Frisell, who would later release his interpretations of the Costello (and Bacharach?) demos as The Sweetest Punch (1999). All songs are credited Costello / Bacharach and the duo are credited for voice / piano respectively and they are supported by Steve Nieve on keyboards, Jim Keltner on drums, Greg Cohen on bass, and with Dean Parks on guitar. Bacharach is also credited for his role as arranger and conductor as both a horns and strings sections participate.

Musically, it represents a variety of styles ranging from baroque pop, vocal jazz, singer / songwriter and some folk and country elements not to forget chamber pop, and then it's all arranged with heavy use of horns and strings much in a Bacharach tradition.

The album was met by positive reviews and acclaim from near and far, and it was nominated to a number of prizes.

I heard about the project quite early and just purchased the album without actually listening to it, and I may not have spent my money on it immediately, had I listened through the whole album first. From my perspective, critics seems overly happy about the songwiting qualities - a dimension I've always found difficult when speaking of music. It really doesn't matter how good the lyrics are, if the music is crap. Now, this is far from that, but I just don't find that the Costello / Bacharach excessive production cocktail an interesting lyrical foundation. That said, it's far from bad, it just sounds too much as a replication of former Bacharach productions where, in fact, Costello heighten the quality thanks to his strong vocal performances. I like it because of Costello's vocal jazz performance, but to me the later Bill Frisell interpretations of the songs is simply a better album.

[ allmusic.com 4,5 / 5, Spin, Rolling Stone, Q Magazine, NME 4 / 5 stars ]

Grant Hart "Hot Wax" (2009)

Hot Wax

release date: Oct. 6, 2009

format: digital

[album rate: 3,5 / 5] [3,62]

producer: uncredited [rec. by Howard Bilerman; Mark Wisti]

label: Con D'Or Records / MVD Audio - nationality: USA

Track highlights: 1. "You're the Reflection of the Moon on the Water" - 2. "Barbara" - 3. "Charles Hollis Jones" - 4. "Schoolbuses Are for Children" - 6. "California Zephyr" (acoustic live) - 7. "Sailor Jack" - 9. "My Regrets"

3rd studio album by Grant Hart follows ten years after the album Good News for Modern Man and is released via the independent label MVD Audio. Another 10 years! Well, you really cannot blame Hart for being busy releasing new material, however, he has recently founded his own record label Con D'Or and with assistance from MVD Audio, he has managed to release nine new compositions. It's no secret that Hart already back in the mid-80s found consolation in drug abuse, and unlike former band associate Bob Mould who took to rehabilation, Hart seems to have rejected just that. His '99 album was well-received by the media but as most of his releases post-Hüsker Dü the album didn't succeed commercially.

He initiated these recordings in a collaboration work with members of post-rock collective Godspeed You! Black Emperor (the band was inactive from 2003-2010), but apparently, Hart didn't feel he benefited from the work and almost halfway through he turned to MVD Audio head Mark Wisti who then helped finishing the album. The early tracks appear to be the ones recorded by Bilerman (tracks #1, #2, #4, #9). Much in concordance with his two previous solos, Hart plays most instruments on his own except from occasional string sections.

Stylewise, this is difficult to narrow in, although there are traits from a post rock influence on tracks #2 and #9, but it mainly comes out as modern pop / rock or indie rock with references to traditional 1960s music of folk rock, psychedelic rock and baroque pop reminding the world about Jefferson Airplane and Scott Walker.

Grant Hart is one of America's big secrets. Those who know of him, praise his music and his few albums, and as with his previous releases Hot Wax contains truly fine music without reaching the same level as he demonstrates on his '99-album.

[ allmusic.com 4 / 5 stars ]

Kate Bush "The Whole Story" (1986)

The Whole Story (compilation)
release date: Nov. 10, 1986
format: vinyl / digital
[album rate: 4 / 5]
producer: Kate Bush; Jon Kelly; Andrew Powell
label: EMI - nationality: England, UK

A 12-track compilation album by Kate Bush, and a fine best of album with most of her hits. The album went to number #1 on the UK albums chart list.
[ allmusic.com 4,5 / 5 stars ]

Antony and the Johnsons "Swanlights" (2010)

Swanlights
release date: Oct. 11, 2010
format: cd
[album rate: 3,5 / 5] [3,36]
producer: Antony Hegarty
label: Rough Trade - nationality: USA

Track highlights: 2. "The Great White Ocean" - 3. "Ghost" - 4. "I'm in Love" - 8. "Thank You for Your Love" - 9. "Flétta" (feat. Björk)

4th studio album by Antony and the Johnsons following nearly two years after The Crying Light (Jan. 2009) - released by Secretly Canadian (Rough Trade for the European market). The style is somewhat unchanged with Antony's melancholic piano-founded mourning stories with less focus on traditional instrumentation in the exchange of orchestral arrangements with an end result that appears both touching on a neo-classical score and a more naked and simple expression. This way it appears as his most quiet and intimate so far. All tracks are (as usual) composed by Antony Hegarty except two written together with classical composer Nico Muhly, and the track "Flétta" co-written by Björk.
The album was generally met by critical acclaim, although, I just don't find that the album reach the height of its two giant predecessors and imho it just sits low in Antony's discography. I'm possibly missing some point here. I find that the stories are intact, Antony's voice also, there's lot's of sincerity and strong emotions but the strong compositions don't escape the surface.
[ allmusic.com, BBC Music, Mojo, Uncut 4 / 5, Pitchfork 7,7 / 10 stars ]

Antony and the Johnsons "The Crying Light" (2009)

The Crying Light
release date: Jan. 20, 2009
format: digital (10 x File, FLAC)
[album rate: 4 / 5] [3,82]
producer: Antony Hegarty
label Secretly Canadian - nationality: USA

Track highlights: 1. "Her Eyes Are Underneath the Ground" (4 / 5) - 2. "Epilepsy Is Dancing" (4 / 5) - 3. "One Dove" - 4. "Kiss My Name" (4 / 5) - 6. "Another World" - 7. "Daylight and the Sun" - 9. "Dust and Water" - 10. "Everglade"

3rd studio album by Antony and the Johnsons is yet another strong release. Stylistically, it's like a new chapter to the brilliant I Am a Bird Now (2005), only, there's a more subtle tone or obscure sentiment giong on here as a turn to a more lyrical content.

The album has been met by positive reviews and it's perhaps seen as the band's peak. I only find that it contains a few fillers without the same high quality, but perhaps I just don't get the intimate message, and then tracks #1, #2, and #4 are still all worth this album.
The front cover features a 1977 photograph by Naoya Ikegami of iconic butoh dancer Kazuo Ohno.
[ allmusic.com 4,5 / 5, Pitchfork 8,6 / 10, Los Angeles Times, Uncut, 👍NME 4 / 5, Spin 3,5 / 5 stars ]

Joan Manuel Serrat "Mediterráneo" (1971)

Mediterráneo
release date: 1971
format: digital
[album rate: 3,5 / 5]

Tracklist: 1. "Mediterráneo" (4 / 5) - 2. "Aquellas pequeñas cosas" (3,5 / 5) - 3. "La mujer que yo quiero" (3,5 / 5) - 4. "Pueblo blanco" (3 / 5) - 5. "Tío Alberto" (3,5 / 5) - 6. "Qué va a ser de ti" (5 / 5) - 7. "Lucía" (3 / 5) - 8. "Vagabundear" (4 / 5) - 9. "Barquito de papel" (4 / 5) - 10. "Vencidos" (3 / 5)

Studio album by Spanish singer /songwriter, baroque pop, and folk artist Joan Manuel Serrat. The music is beautiful, intense, melancholic, with bonds to Scott Walker and Italian singer / songwriter Fabrizio De André.

Nick Drake "Bryter Layter" (1970)

Bryter Layter
release date: Nov. 1, 1970
format: cd
[album rate: 4 / 5]
producer: Joe Boyd
label: Island Records - nationality: England, UK

2nd studio album by Nick Drake. This is his most orchestrated album and also his most baroque pop styled album, although, it's still singer / songwriter and acoustic folk-based. This time strings have been arranged by Robert Kirby. Several notorious musicians accompany Drake on the album. Guitarist Richard Thompson, bassist Dave Pegg, and also drummer Dave Mattacks of Fairport Convention all contribute on several tracks, but also Beach Boys drummer Mike Kowalski play on a number of compositions, and John Cale feature on two compositions. Like the debut this wasn't paid much attention back at the time of release, but very much like Five Leaves Left (1969) it's enlisted on several lists paying tribute to the best albums of all time including "1001 Albums You Must Hear Before You Die". Apparently, the "title is in reference to Queen's English and BBC weather reporters who would describe the weather as "brighter later". (from wikipedia).
[ allmusic.com, The Music Box, Q Magazine 5 / 5 stars ]

Kate Bush "Lionheart" (1978)

Lionheart
release date: Nov. 10, 1978
format: cd / cd (2018 remaster)
[album rate: 4 / 5] [3,78]
producer: Andrew Powell with Kate Bush
label: EMI - nationality: England, UK

Track highlights: 1. "Symphony in Blue" (4,5 / 5) - 2. "In Search of Peter Pan" - 3. "Wow" (5 / 5) - 4. "Don't Push Your Foot on the Heartbrake" - 5. "Oh England My Lionheart" - 6. "Fullhouse" - 8. "Kashka From Baghdad" - 9. "Coffee Homeground" - 10. "Hammer Horror"

2nd studio album by Kate Bush released only 9 months after her fantastic debut. The record label quickly understood what a treasure they had signed with and basically wanted to get most of it. Like on most of her works, she has composed all tracks on her own, and here she is credited as assistant to producer Andrew Powell. Musically, the album is close to the debut, only this is generally more quiet with stronger elements from progressive rock.
"Hammer Horror" was chosen as the first single from the album, which I don't really get. "Symphony in Blue", and "Wow" are easily the two most outstanding tracks on an album that fared well in the UK but wasn't released in the US until '84 because her debut album simply didn't sell.
The A-side is quite good and almost on par with the debut, but the B-side simply lacks great songs. It's far from a lesser album, I just find it lesser in comparison with her great masterpiece from earlier this very year. Bush herself has later admitted that she was pursuaded to release the album, although, she didn't have enough time to make it a satisfying follow-up. The experience, however, taught her to gain control of her own music, which in retrospect was the right thing to do at a time when labels only had profit in mind.
Kate Bush initiated her only ever live tour in the spring of '79 to promote her first two albums - the experience on the road apparently was so negative that she never toured again.
[ allmusic.com 3 / 5 stars ]

Kate Bush "The Kick Inside" (1978)

2018 remaster

The Kick Inside [debut]
release date: Feb. 17, 1978
format: vinyl / cd / cd (2018 remaster)
[album rate: 4,5 / 5] [4,36]
producer: Andrew Powell
label: EMI - nationality: England, UK

Track highlights: 1. "Moving" (4 / 5) - 2. "The Saxophone Song" (5 / 5) - 4. "Kite" - 5. "The Man with the Child in His Eyes" (4,5 / 5) - 6. "Wuthering Heights" (5 / 5) - 7. "James and the Cold Gun" - 8. "Feel It" - 9. "Oh to Be in Love" - 11. "Them Heavy People"

Studio album debut by Kate Bush and what a stunning debut, and later that year: Lionheart (Nov. 1978). My gosh, she was so extremely talented, there's hardly words to describe it! She composed and wrote all songs on her own, and she was 19 when the debut was released and she had only just turned 20 as her second album was issued. Only too bad that the punk rock-wave flooded everything and took away focus on progressive, art pop and all the traditional musical styles, and her whole persona came to appear old-fashioned despite the greatness of the songs as well as the arrangements.
After her first two albums, she toured the UK with an extraordinary scene show mixed with theatre, dance and performance art - Bush designed costumes and sceneries for the performances and alledgedly changed her costume 17 times at each occassion. Apparently, the whole experience was so exasperating that she never again made another tour. Another thing that adds to her experience with the press and media is that many saw her music and herself as 'out-of-time' phenomenon - something otherworldly and belong to another time and place. She soon became an object of parody. However, she nevertheless produced 5 great albums in a row - from this, her great debut, to Hounds of Love (1985) - what an amazing release history! After her fifth studio album she slowed down on the musical production - and in my mind never again made another really great album.
The Kick Inside is like a rough diamond. Even if she had never released any music again, she would by this album only forever be remembered as a shining star and unique performer. Many have criticised her theatrical style, which is evident if you watch her early live performance or videos, and it was somewhat out of sync with current time. I guess, some would call it anachronistic referring to experimental ballet from late 1960s and early '70s, and then you could of course argue that she brought other ways of expression to music, which was anything but old fashioned, which instead put her in the forefront of the scene of popular music. Well, she was just so talented and was inspired by many expressions of art. She wrote everything on her own and she played several instruments aside from owing an extremely powerful, well-balanced, and unequalled singing voice. Some of the songs from her debut had been written and composed at age 11! She was the first woman in music history to make an album of her own songs that ended up topping the charts. I have always fancied her music but at times I get sort of full of her style and sound and has to leave it for a while, but only for a period of time, because I always return to these her first albums, which I truly enjoy as musical works of art. Naturally, the album is enlisted in various best of album lists comprising the best albums of all time. This is really an amazing debut.
[ allmusic.com 4 / 5 ]

(4,5 / 5) The Kick Inside (Feb. 1978)	(4 / 5) Lionheart (Nov. 1978)	(4 / 5) Never for Ever (Sep. 1980)	(4 / 5) The Dreaming (Sep. 1982)	(4 / 5) Hounds of Love (Sep. 1985)

Five essential albums by Kate Bush

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~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

The Zombies "As Far as I Can See..." (2004)

As Far as I Can See...
release date: Apr. 26, 2004
format: digital
[album rate: 2 / 5]

Well, again an attempt to revive the greatness of a band long gone. They never were a favorite band, and frankly, I don't see why they should persist to release music under a name that once was. The original band members are here reduced to half of that former successful band. They could've called themselves by any other name or just... Old Zombies or: Half a Zombie.

Not recommended.

The Zombies "Odessey and Oracle" (1968)

Odessey and Oracle
release date: Apr. 19, 1968
format: digital
[album rate: 2,5 / 5]

Best tracks: 1. "Care of Cell 44" - 12. "Time of the Season"

3rd studio album by British band The Zombies. This is a highly praised and classic pop album. I don't really understand the hype and the tremendous appraisal it received. I put it on, listen to it, and try to understand as to why, but it only eludes me. I don't get it, and I find it boring and senselessly dull. All I can think of, is that it seems like a pop-version of some of the harder music at the time, maybe, a softer pop-version of The Doors or Jefferson Airplane - a link between the British pop-invasion of The Kinks and The Who, and the aforementioned American bands together with harmonies by The Beach Boys. I just don't like that clone. The album is enlisted in "1001 Albums You Must Hear Before You Die".

David Bowie "David Bowie" (1967)

org. cover

David Bowie [debut]
release date: Jun. 1, 1967
format: digital
[album rate: 2,5 / 5] [2,38]
producer: Mike Vernon
label: Deram Records - nationality: England, UK

Studio debut album by David Bowie [aka David Robert Jones, Jan. 8, 1947 - Jan. 10, 2016, Brixton, Greater London]. Stylistically, this is far from what Bowie was later associated with - this is baroque pop and much closer to the music of artists like The Kinks, Tommy Steele, and (apparently) Anthony Newley. It also resembles the style of a later '67 debut album by Scott Walker - music inspired primarily by British acts with certain amounts of The Beatles with an addition of a certain psychedelic pop element without being too extravagant nor innovative. This was not music that tried to seek out new musical territories or recreate pop music itself. The album didn't stir up things and basically was a rather unnoticed release in the UK, and it's quite difficult to link this with his later works. The album really only is interesting for historical reasons and as fan material. Otherwise, the album is not recommendable.
[ allmusic.com 2,5 / 5, Blender 1 / 5 stars ]