dancing to architecture

Bei meinen bisherigen Anfragen konnte ich folgendes feststellen: entweder die Leute schicken einem umgehend die gewünschte Liste mit den Platten … oder gar nicht. Lemmy Caution, a.k.a. Matthew von den großartigen Black Time (und früher auch mal die Lot Lizards, wie ich soeben festgetellt habe) gehört glücklicherweise zur ersten Kategorie. Die Platten von Black Time finde ich ja ein bißchen sperrig, aber live haben die unglaublich gerockt. Als einer seiner Bandkollegen dann auch noch meinte, dass Matthew nur schwer aus dem Plattenladen loszueisen gewesen wäre, war klar, wer der nächste Kandidat für die 10 liebsten Platten ist. Und hier sind sie:

LEMMY CAUTION FROM BLACK TIME’S 10 FAVOURITE ALBUMS

1. The Mekons – Quality Of Mercy Is Not Strnen

(Caroline, 1979)

Stumbled across this at a formative age because one of The Mekons’ cousins was a friend of my older brother.  A wonderful album – scratchy, angular, tuneful, brimming with personality, humour and

attitude.  I don’t understand why this doesn’t get mentioned in the same bracket as other 77/78 era classics.

2. Jesus & Mary Chain – Psychocandy

(Blanco y Negro, 1985)

I listened to this album so much between the ages of 16 and 22 I can’t actually hear it anymore but it’s embedded in my psyche like an internal radio!  The most perfect marriage of melody and white noise ever committed to vinyl.

3. The Cramps – Songs The Lord Taught Us

(IRS, 1980)

The Cramps have been such an important band for me not only for their amazing records but as a catalyst to discover so much great music – I think they had a similar effect on many people.  There’s a lot of gems in their back catalogue but the pinnacle has to be the dark southern gothic minimal rawness of this first LP – haunting and rocking in equal measure.

4. Television Personalities – And Don’t The Kids Just Love It

(Razor & Tie, 1980)

Dan Treacy is a damaged English pop genius and this collection of taut, angst-ridden melancholy classics is the jewel in his crown.  I really love the unusual production on this – knocked out in a 4-track studio in Hammersmith – it’s a stripped-down DIY punk take on 50s reverb pop and suits the finely crafted compositions really well.

5. Monks – Black Monk Time

(Infinite Zero/American, 1966)

Yes we named our band after this LP!  Most bands fit into an identifiable genre but although they generally get labelled as ‘garage-punk’ this jaw-droppingly original statement  can only be described as ‘Monk Music’.  Odd time signatures, chants, feedback, fuzz banjo as rhythm instrument, insane organ solos, anti-love songs – this is an indestructible work of art and also a big influence on….

6. Faust – IV

(Virgin, 1973)

It’s hard to pick one of the first 4 Faust albums but this one is most satisfying as a whole.  Moving from proto-industrial improvised noise to pastoral acoustic elegies, this one works as a hypnotic musical journey from start to finish.

7. Sonny Sharrock – Black Woman

(Vortex, 1969)

I generally get the fear with albums described as ‘free jazz’ but I would encourage anyone to check out this album – some fucking unbelievable guitar playing that seems to provide an antecedent to everything from Half Japanese to Prince.  A great late night listen when you’re totally wasted.

8. Soft Boys – Underwater Moonlight

(Rykodisc, 1980)

Another English maverick, Robyn Hitchcock has his finest hour on this seethingly angry but beautifully harmonious bag of weirdo powerpop.  Kimberley Rew’s guitar playing on this channels the spirits of Stacey Sutherland and Roger McGuinn into a post-punk soundworld.

9. The Fall – Hex Enduction Hour

(Resurgent, 1982)

Still occasionally making great music after 30 years!  This is arguably the entry point to their mammoth back catalogue though and the one that most frequently tops fan polls.  2 drummers, Mark E. Smith at his scaborous acidic best and a band at the absolute height of their powers.  Legend has it that in the early-80s Motown were considering signing a ‘new wave’ act due to the success of the Police, Talking Heads etc and showed interest in the Fall.  One listen to the opening line of “Where are the obligatory niggers, hey you fuckface!” changed their minds.  Shame, a Smokey Robinson produced Fall record coulda been a monster!

10. Can – Monster Movie

(Mute, 1969)

Love all their early 70s records but this is the godhead – fuzztone neanderthal punk moves spinning off into kosmiche explorations and repetitive rhythm workouts.