New Releases: 13 December
Each week, the team at Long Live Vinyl bring you the pick of the latest new releases, reissues and compilations on vinyl. Here’s our selection for 13 December…
Pulp – His N Hers (UMC)
Of course, the album most people would cite as their favourite Jarvis-fronted record is the other one. You know, the one with Common People on it. Its precursor His ‘N’ Hers inherits the slightly spindly sound which producer Ed Buller had already trailblazed on Suede’s debut the year before, and which Pulp later jettisoned in favour of Chris Thomas’ muscularity. But His ‘N’ Hers benefits from Different Class’ overexposure. This handsome double white vinyl reissue surprises with its generous number of classic pop songs (Do You Remember The First Time?, Babies) and overlooked beauties such as Pink Glove and über-Jarvis album-closer David’s Last Summer which, with lines like “The whole sound of summer packing its bags and preparing to leave town”, demonstrates the durability of the singer’s talent.
Mott The Hoople – The Golden Age Of Rock ’N’ Roll (Madfish)
For those poor souls not familiar with every track on every Mott LP, there’s long been a need for a compilation that covers the band’s CBS-era glam-rock heyday and looks beyond songs included on the single-disc Greatest Hits (1976). Marking Mott’s 50th anniversary, this double set does the job admirably by mixing up familiar chartbusters such as All The Young Dudes, Honaloochie Boogie and Roll Away The Stone with choice album cuts. Mott fans will, of course, quibble with the specific track listing, but in truth you could choose virtually any 20 Mott songs, and you’d arrive at the same mix of thunderous rock ’n’ roll riffs and shameless self-mythologising, a combination lifted to poetic heights by Ian Hunter’s ability to project bruised romanticism. It features sleeve notes by Mott and Hunter’s biographer Campbell Devine.
Throbbing Gristle – Part Two: The Endless Not/TG Now/A Souvenir of Camber Sands (Mute)
In 2004, Throbbing Gristle re-formed. Considering the tensions that led to the first split, the news that Genesis Porridge, Chris Carter, Peter Christopherson and Cosey Fanni Tutti were making music together was at the very least surprising. Could anything they produced have the same impact as earlier work? Perhaps not, but as these reissues show (see TG Now as testing creative waters, Part Two as offering clues as to how the band might have developed and Camber Sands a live document), a sense of unfinished business propelled them to make music that was austere yet with an underlying sense of structure quite unlike that offered by any other band. Part Two: The Endless Not and TG Now are released as a triple clear vinyl boxset.
Various Artists – Mogadisco: Dancing Mogadishu Somalia 1972-1991 (Analog Africa)
As the sleeve notes from Analog Africa founder Samy Ben Redjeb make clear, researching the music of Somalia is a task that goes far beyond mere cratedigging. Travelling to Mogadishu in 2016, a city where, according to UK government travel advice, there is the “constant threat of terrorist attack”, he finds just one B&B owner “crazy enough” to host a foreigner. But be grateful Redjeb made the effort because the tracks on Mogadisco, found by rifling through tapes held at Radio Mogadishu with the help of archive chief Colonel Abshir Hashi Ali, are glorious. Highlights range from Dur Dur Band’s Daraadaa Muxibo to Iftin Band’s Sirmaqabe, which sounds disconcertingly like a lost TV theme, but it’s the overall vibe that stays with you, funky, but imbued with strands of desert blues and reggae.
Various Artists – Killing Eve Seasons 1 & 2 OSTs (Heavenly)
The heightened aesthetic of Killing Eve made it one of the most stylish dramas the BBC has ever created. Overseen by David Holmes and veteran music supervisor Catherine Grieves, the girlgroup noir soundtrack was integral to the drama’s psychotic world. Largely by Holmes’ trio Unloved, obscurities by the oddly menacing Poppy Family, a sleazy anomaly from The Troggs and Jane Weaver’s delicious Modern Kosmology are fantastic on screen and off. A few tunes work less well and appear simply kitsch without seeing Jodie Comer and Sandra Oh’s grandstanding performances, while the soundtracks are so consistent the music will need shaking up for Season 3. But the albums (naturally on blood-spatter coloured vinyl) are stuffed with inspired obscurities, frequently as outrageous and pitch-perfect as the series.