Stuart Preston's Classic Album of the Month - September '09

Kevin Ayers – The Confessions Of Dr. Dream And Other Stories (1974)

Kevin Ayers remains one of the great undiscovered heroes of the 60’s underground scene. Steadfastly ignoring prevailing trends, rarely recording or performing in later years, he is almost the dictionary definition of a cult artist. He had served his apprenticeship with Canterbury pioneers Soft Machine, but had ultimately quit the band and retired to warmer climes – thus beginning his career choice of operating firmly under the radar. Dr. Dream was actually his 4th solo album, and he sounds like the complete artist here, full of confidence and assembling a crack team of musicians to back him.

Opening track Day By Day is an impressive beginning, Ayers half talking the opening lines in his rich baritone, backed by powerful female backing vocals before bursting into an almost joyous chorus. This is a world away from his psychedelic roots. It sounds big, it sounds expensive, it sounds like his new label Island was going all out for a hit record. They didn’t get one of course. The 30 second whimsical nonsense See You Later leads into Didn’t Feel Lonely Till I Thought Of You, the albums standout track. More big backing vocals complement the hard rocking music, while Ollie Halsall provides smokin’ lead guitar throughout the track. Halsall played with Ayers for 20 years, and was his one musical constant before sadly succumbing to heroin.

After such a commercial sounding start, and just as the listener feels they have got a handle on what to expect, the rest of the album bears little resemblance to what has gone before. Two lengthy tracks make up the bulk of the remainder of the album. It Begins With A Blessing combines ominous vocals and a dose of proto-metal with the melancholic whimsy of the Once I Awakened interlude, before coming full circle with the final third’s But It Ends With A Curse. 8 minutes of pure magic. What would have been side 2 on the original LP is taken up with the title track, split into 4 parts. The first part, Irreversible Neural Damage, has an almost nightmarish quality utilising backwards masking on the vocals to disorientating effect. The rest of the track is a series of contrasts – touches of the initial commerciality we heard earlier and a tripped out instrumental passage before drawing to a close with more darkly foreboding sounds. Two Goes Into Four is two minutes of acoustic loveliness that ensures we are brought back to earth gently as the album finishes.

The Confessions of Dr. Dream and Other Stories is an ambitious album, one that is very much a product of its era. It’s not an easy listen certainly, but like all the best albums it’s one that rewards repeated plays. Too wilfully difficult to ever really stand a chance of producing a hit, Ayers eventually returned to the Harvest label and continued to record for his slowly dwindling audience. Most of Ayers 70’s output is worth investigating, with this being the highlight of his long career.

Stuart Preston

Stuart Preston's Classic Album of the Month - May '09

Mos Def – Black On Both Sides (1999)

There is a real danger that more people will have seen Mos Def in a Hollywood movie than will have heard any of his music. Not that I have any issues with his preferred career of recent years, it’s just that it seems the further we get from the release of this, his debut solo album, the more it seems he’ll never be able to once again scale these heights. Given his sluggish release schedule since this came out, it’s worth noting that it followed on from the equally essential Blackstar project he recorded with Talib Kweli by only a year.

This is classic hip hop with a reliance on lyrical mastery, storytelling, slamming beats and even the ubiquitous guest spot from Busta Rhymes – this was 1999 after all. It’s an understated start with a faltering beat soon joined by a jazzy keyboard groove taking a full 3 minutes before we finally hear Mos begin to rap. And he raps in a style that calls to mind such titans of the mic as Rakim or Q-Tip. It’s with the second track Hip Hop though that things really begin in earnest, with some brilliant production from Diamond D, himself a legendary producer and MC. The music complements his rhymes perfectly, allowing his lyrics to shine – from talking about his heritage and politics on New World Water to displaying his less serious side on tracks like Ms. Fat Booty. Talib Kweli reminds us of the Blackstar days with a superb appearance on one of the standout tracks Know That – truly great stuff. There’s still time to fit in the tribute to his place of birth Brooklyn (cleverly utilising 3 different sets of beats) and call on the services of another legend, this time Gang Starr’s DJ Premier on Mathematics.

This is not just a lyrically diverse album, it’s also musically varied. Some songs are built on little more than the sparest backing tracks, others feature looped vocal samples while some are dance floor fillers. There is always a slightly jazzy laidback feel, even on the up-tempo numbers, and live instruments and orchestration help to create a unique sound throughout. Some of the sonic treats are so subtle it takes a few plays before these gems are revealed – witness the understated percussion on closing song May-Decmber.

Apparently Mos’s new album, only his third in a decade, is something of a return to form, but I’m willing to bet it won’t hold a candle to this. Like the best music it sounds as fresh today as the day it was released, I’m still hearing things I’ve never noticed before. As for anybody who thinks they don’t like hip hop, it’s ok…you just haven’t heard Black On Both Sides yet.

Stuart Preston

DJ Trevor Tonic - The 80s, Dead or Alive?

Whether it's the golden eagle of Lyle & Scott, the three stripes on a pair of Adidas Gazelles or hearing the prophetic lyrics and haunting melody of 'Ghost Town' by the Specials drifting out of the sound system of one of the many fashion emporiums around the town centre, you would be forgiven in thinking that Norwich was the epicentre of an 80s retro revival.

Now before you go running to the hairdressers to book your 'Kevin Keegan' perm or start rummaging around your wardrobe for your old 'Frankie Says' t-shirt, I plead with you to resist the urge to search out that boxset of Miami Vice, because let's face it, that whole 'suit worn with rolled-up sleeves, deck shoes, no socks and a Tshirt' is not a good look unless you are on a speedboat in Miami or you are in fact Sonny Crocket.

Think 80s and the majority of the people will think Stock, Aitken and Waterman, Rick Astley or Nick Cayman advertising stone washed denim in his pants. However, think a bit harder and your grey cells will drag from the recesses of time, New Order morphing out of Joy Division, The Specials and the whole Two-Tone movement and Quadrophenia, the iconic mod movie will come to the fore.

Back in the day, what you looked like and how you dressed was everything. Thanks to a couple of shops in Norwich, men of a certain age (40-45) can revisit a time where they felt they belonged - where their lives had some meaning and they played to a set of rules. They had honour, albeit amongst their peers.

At Elements in Lower Goat Lane, Jonny George has assembled an unbeteable collection of 'Terrace Casual Classics'. The likes of vintage Fila and Sergio Tacchini polo shirts and tracksuit tops (never to be worn with matching bottoms - that's a Northern thing)! At the back of the shop is an Aladdin's cave of fashion treasure. If there was a magic lamp to rub, the genie would appear wearing Lois cords and a pair of Kickers. Just up the road is the long established Philip Browne, which amongst others stock a range of Fred Perry, Lyle & Scott and Pringle diamond patterned golf sweaters that are second to none. It's not just the mid-40 year old men that seem to be drawn to the look - the myth that was 'the football casual'. Kids can be seen today sporting the casual look with their Fred Perry and Lyle & Scott cardigans. But, I am yet to see my first wedge haircut.

Most people's immediate recollection to the music of the 80s is one of cheesy pop churned out to a formula set by the self proclaimed hit factory production team of Stock, Aitken and Waterman. They were responsible for such timeless classics recorded by the likes of Sinitta, Rick Astley and Sonia. But look a little deeper, scratch the surface a little bit more and you will find that by definition a decade that spans the void between 70s punk and 90s rave must have more substance to it than Jason Donovan and bland American power ballads, which relied heavily on music videos with volumous hair, massive wind machine and a desert setting. Or worse than that, they can be excused in part because they are American, or flamboyant kilt-wearing frilly hairdressers that went under the banner known as the 'New Romantics'.

Think deeper and you will see the Two Tone movement, led by the Specials, an interesting take on traditional Ska music. You had The Cure, The Banshees - who put a gothic twist on punk - the power pop that was The Jam, led by the inspirational front man and Modfather, Paul Weller. You had celtic rock with bands like Simple Minds, U2, Alarm and The Clash. Then there was a move towards more dancey electro music pioneered by 80s bands like Depeche Mode, New Order and KLF. This new form of music was the first, to my knowledge, to encourage blokes to dance as shown by the patron saint of blokey dance, marraker shaking Bez from Happy Mondays.

So, next time you hear someone say the 80s, the decade that style forgot, you will know better.

Jog on.

Trevor Tonic.

Stuart Preston's Classic Album of the Month - March '09

Flaming Lips – Clouds Taste Metallic (1995)


The Lips have become so synonymous with their frazzled brand of symphonic psychedelic and euphoric music it's easy to forget that it wasn't always this way. Clouds Taste Metallic was their last hurrah as something approaching a conventional rock band - as conventional as any band can be with song titles such as Psychiatric Explorations of the Fetus with Needles. This was the last album to feature guitarist Ronald Jones whose experimental approach to playing had so energised the band on the previous release Transmissions From The Satellite Heart. It was also the second time drummer Steven Drozd had featured – the drummer who went on to be their guitarist, keyboardist, co-songwriter and along with mainman Wayne Coyne the driving force behind their future mainstream(ish) success. Coyne would also pretty much hang up his guitar after this – a real shame I think

Listening to this album now it’s hard to understand why it was a comparative flop at the time. After their fluke underground hit She Don’t Use Jelly there seemed to be a number of candidates for further chart success – This Hear Giraffe for example is under 4 minutes of pop perfection, built on the sturdy bass of Michael Ivins, Jones creating a myriad of out there sounds and Wayne Coyne delivering a seemingly meaningless lyric in his uniquely cracked voice. Whilst there is a real pop sheen to the songs, this is still a LOUD record, everything pushed to the max, sounding like it’s on the brink of falling apart at any moment. This is pop in the classic sense though, not overproduced drivel for the masses. The Lips have always had a great line in uplifting melancholy, an otherworldly quality which makes their future direction much easier to fathom. Kim’s Watermelon Gun is down an’ dirty garage rock, They Punctured My Yolk would doubtless be best appreciated as the sun rises after a night of excess and Lightning Strikes The Postman pummels you with incessant riffing and thundering drums.

The huge change that was around the corner only serves to remind what a big contribution Ronald Jones made to the band’s sound, making his virtual disappearance since all the more of a loss. It’s still hard to believe Steven Drozd was merely the bands drummer at this stage, a great one at that, but with so much more to offer. All the elements for future greatness were already in place – just less polished, more organic and much louder. The tour that followed would break this line up of the band, resulting in them starting from scratch and ultimately resulting in the epic genius of The Soft Bulletin. If you’re only familiar with their more recent work, but are hungry for more, Clouds Taste Metallic is the logical next step.

Stuart Preston

Stuart Preston's Classic Album of the Month - February '09

Tom Waits – Rain Dogs (1985)

Genius. There are few performers more deserving of such a tag. A true musical chameleon, it’s almost impossible to summarise his career. Certainly the artist who recorded Real Gone in 2004 bears no relation at all to the one who released his debut set Closing Time in 1973. Initially known more as a singer songwriter specialising in string laden ballads, he then adopted a hard drinking road weary persona as the decade progressed. As the 80’s began Waits found himself at a crossroads in his life.

He had left the Asylum label for pastures new and married Kathleen Brennan who he had met while working on Coppola’s One From The Heart and with whom he would co-write much of his future material. He had then stunned his fans and critics alike in 1983 with the brilliant re-invention that was Swordfishtrombones. Conventional instruments were combined with accordion, marimba and pump organ all set against jarring percussion. Rain Dogs further expanded on this new direction, by increasing the ambition, and the addition of the superb guitar of Marc Ribot, whose work is one of the many highlights. 19 tracks in total, many still based on his blues and jazz roots, but also introducing polkas, spoken word, vaudeville, country and a touch of gospel all topped off with his ‘distinctive’ voice. Although he can roar and bellow with the best of them he can also bring real tenderness to his performance – witness Time and Hang Down Your Head. Singapore is a jaunty, sea shanty of an opening number, Clap Hands sounds like a New Orleans funeral march, Tango Till They’re Sore features off kilter piano and the instrumental Midtown is like big band jazz gone wrong. This may sound like this album is a difficult listen, but this is simply not the case. It may require several plays for its magic to be revealed, but with music like this, surely it’s the least we can do?

Few artists weave tales of life’s seedy underbelly better that Waits. You believe every single word of it, his lyrics paint vivid pictures, mostly in songs lasting less than 3 minutes. It seems whatever musical style he uses, he does it with utter conviction. Over the course of almost 20 albums he has scarcely put a foot wrong. Highly recommended also is the classic Jim Jarmusch film Down By Law which stars Waits as a DJ and features some of the music off this album. There are at least another 6 albums which could have been reviewed here (Nighthawks At The Diner, Blue Valentine and Bone Machine to name but three), but after listening to his music for nearly 20 years this is the one I keep coming back to.

Stuart Preston

Stuart Preston's Classic Album of the Month - January '09

Dexter Gordon – Go (1962)

So you’ve got a token jazz album in your collection – maybe Kind Of Blue by Miles Davis, or perhaps A Love Supreme by John Coltrane. Fantastic albums for sure, but where to go next? Jazz is such a varied and at times baffling genre of music it can be a daunting prospect, but you could do a lot worse than make this your next stopping point.

It’s almost hard to believe that this album was recorded in just a single day during 1962; Go is the very height of Blue Note cool. Like many of his peers Gordon had emerged during the Be Bop scene of the late ‘40’s, being fortunate enough to both perform and record with Charlie Parker. His talents were fully formed by the time this set was released, and backed by the piano, double bass and drums of some of the era’s finest musicians he could hardly have put a foot wrong.

Cheese Cake is a perfect opener. A walking bass line is followed by fast up-tempo sax, with Sonny Clark’s piano filling in the blanks. This is one of the remarkable things about this album, although Gordon’s name is in lights, the other musicians almost share equal billing, especially Clark. Gordon’s playing is fast, fluid and intuitive, but the sense of melody is never forgotten. I Guess I’ll Hang My Tears out to Dry, as the title suggests, is a gentle ballad with warm, rich tenor sax all over it, definitely a case of less is more on this track. Second Balcony Jump combines the mood of these two opening numbers – subtle understated backing allowing Gordon to solo his way all over the first half of the track.

Cole Porter’s much-interpreted Love for Sale allows Gordon to truly soar. After the initial, familiar opening melody a left turn is taken and like Coltrane’s famous recording of My Favourite Things, the track ceases to resemble anything familiar. Special mention too for the drumming of Billy Higgins, emphasising every twist and turn. Another ballad follows with the sublime Where Are You evoking every smoky jazz bar 50’s New York had to offer. Three O’clock in the Morning brings matters to a close in a surprisingly understated manner, Butch Warren’s bass pushing the song along giving Clark and Gordon one last chance to shine.

That much of the playing was undoubtedly improvised just makes this classic all the more impressive, especially as never once does the music become self-indulgent. This album is focused and timeless, and anyone who has even the vaguest interest in music, let alone jazz, should seek it out immediately.

Stuart Preston

My Bloody Tuesday...

It was just a normal Tuesday morning really... if you count dodging pick-axes, witnessing gory brutalities and avoiding the onslaught of blood and flames being cast in your direction.


Maybe I should clear things up now so that you don't think the Outline staff have murderous tendancies every time the printer doesn't work (it doesn't by the way - EVER.) I was lucky enough to be one of the first people to see 'My Bloody Valentine' 3D, a story of a small mining town that is gripped by a desensitised killer with a revengeful motive. Now, I should point out that before watching this film, I could count on a Simpson's family hand how many horror flicks I've watched... Sleeping Beauty is still very much considered a horror in my mind. I'm a pussy. No doubt about it. So going to the cinema to subject myself to scenes of terror, multiplied by the fact the action was being thrown at you through the medium of 3D glasses, was a brave move indeed.

And what an experience. From the get-go, all of the action is given the 3D-effect, so that even the actors' names at the very beginning felt graspable by your own hand. The storyline turned nasty quickly, so there really wasn't long to wait before the real meaty action was being thrown in your face... literally.


Although strange at first, you got used to the glasses and the fact that flames looked so close and powerful that I checked my own eyebrows for signs of singeing, and it resulted in a feeling of immersion that you don't really get from 2D films.

Horror afficianados would tell me that the plot-line was standard American thriller material, but it was less about the storyline and more about the experience. Walking out with my heart in my mouth (and an intense fear that a pick-axe is going to come flying round the corner) and even NOW (I'm seriously scared of my own shadow after that film), I can still say that it was an adrenaline-fuelled experience that just has to be taken on.

...And if pick-axes aren't your thing, Toy Story 3D will be out soon. Where do I book?


Emma x


My Bloody Valentine 3D will be showing at ODEON, Norwich from Friday 16th January. For tickets, go to http://www.odeon.co.uk/