Recommended Albums #98

Amazing Blondel: Evensong (1970)

So much distinctive pop, rock and folk music has originated on that little island across the pond. Where would we be without the Brits and their flair for the idiosyncratic musical niche?

John Gladwin, Terence Wincott and Edward Baird performed what they themselves called “pseudo-Elizabethan/Classical acoustic music sung with British accents”.

And they weren’t jesting.

To wit: they dressed as bards and played medieval-style ballads and madrigals on recorder, harpsichord, cittern, crumhorn, harmonium, and a type of lute called a theorboe.

There being a dearth of acoustic Elizabethan-style bands to tour with, they opened shows for rockers like Procol Harum, Genesis, Steeleye Span and Free. So as you listen the accompanying anachronistic revelries, try to imagine a concert wherein their music was followed by “All Right Now” for example.

Apparently despite the contrast in styles their sound presented as compared with such rock acts, Blondel were well-received by audiences who hadn’t come specifically to see them, their stage banter and bawdy humor winning over audiences and making new fans.

The trio were known to take upwards of 40 instruments onstage–which could require about 5 hours’ worth of tuning beforehand.

Eventually there arose conflict between the band’s desire for studio and writing time and their manager’s insistence on a demanding touring schedule. This led to primary songwriter Gladwin leaving the band in 1973.

Amazing Blondel carried on subsequently as a duo, shortening their name to Blondel, and producing a brand of folk pop that leaned decidedly less medieval and more towards a mainstream sound.

But while Gladwin was the dominant writing voice, the band produced a fairly unique brand of archaic British folk, which sounds even more distinctive half a century removed from the English folk revival that spawned it.

These songs are simple, not challenging. They’re gentle, not bombastic. They’re humble, not ambitious.

Amazing Blondel’s songs don’t rock. They charm and enchant. If rock music wants to knock you down and carry you off, Blondel would rather court you with a medieval suitor’s chivalry.

Listen to: “Pavan

Listen to: “St. Crispin’s Day”

Listen to: Spring Season

Listen to: “Willowood”

Listen to: “Evensong

Listen to: “Under the Greenwood Tree”

Recommended Albums #97

The Lover Speaks (1986)

Full disclosure about this one:

I have no idea why I own this CD. I have too many CD’s, this is a given. And it makes for some head-scratching moments when I come across an unfamiliar title in an untended stack on the floor of the spare bedroom I call my “office” (except most “offices” aren’t littered with stacks of under-curated CD’s).

In a recent (brief) spate of tidying said room I came across The Lover Speaks and decided I’d give it a fair listen before banishing it to a “discard” pile.

As I did the accompanying dive into the band’s story, I remained mystified as to why I owned a copy of the one and only official release of a band that never had a hit song, properly speaking. I can only think it was bought on the algorithmic recommendation of a certain online music seller, where I noticed copies are currently selling for prices that would make the most ardent music collector squirm.

The Lover Speaks were vocalist David Freeman and composer/arranger Joseph Hughes. Their 1985 demo tape passed through the hands of the Eurythmics’ Dave Stewart and then Chrissie Hynde on its way to producer Jimmy Iovine, who helped get the duo signed to A&M Records.

They later toured in support of Eurythmics.

But a series of singles failed (“No More ‘I Love You’s'” peaked at #58 in the UK; none of their singles cracked the US charts at all) and a second album was shelved by A&M.

The duo broke up, their main claim to fame being that Annie Lennox turned “No More ‘I Love You’s'” into a solo smash a decade later.

So again, what compelled me to purchase this obscurity? It clearly came recommended in some form or fashion, and I had to determine whether there was any validity to the recommendation.

With each repeat listen as I attended to other tasks, the hooks dug deeper. The songwriting chops sounded keener. The intelligent turns of lyrical phrase came to the fore. And the male/female vocals of Freeman and June Miles Kingstone, swooping and soaring together in an interplay of melody and countermelody made it clear “No More ‘I Love You’s'” was no fluke.

Much of 80’s synth pop was chilly and short on soul. But Freeman’s vocals on “Face Me and Smile” and “Absent One” absolutely ache. His baritone suggests Human League. But the authentic emotional resonance and the soul are closer to Pet Shop Boys or Bryan Ferry.

And I simply can’t understand how “Never to Forget You” missed the American top twenty.

Far from being “No More ‘I Love You’s'” and a bunch of filler, this album sounds like a string of lost mid-80’s new wave hits.

Now I know why it’s in my collection. And I’m glad I got a physical copy while it was still affordable to do so.

Turn an 80’s new wave fan onto this album.

Listen to: “Every Lover’s Sign”

Listen to: “No More ‘I Love You’s'”

Listen to: “Never to Forget You”

Listen to: “Face Me and Smile”

Listen to: “Absent One”

Recommended Albums #96

Ozomatli: Street Signs (2004)

How can one describe LA-based Latin rock band Ozomatli to the uninitiated?

Not in a word or two.

They blend traditional Latin styles with modern rock, funk, jazz, hip-hop, reggae, salsa and, on this their third full-length album, North African and Middle Eastern sounds.

Oh, and the Prague Symphony.

It’s a lot. But it all amalgamates surprisingly well into a multicultural mix that really catches fire in a live setting.

This band can put across an anthemic English-language rock song, croon a hermosa balada en español, and throw a great dance party.

This is the sound of musical inclusivity.

Listen to: “Love and Hope”

Listen to: “(Who Discovered) America?”

Listen to: “Te Estoy Buscando”

Listen to: “Santiago”

Listen to: “Cuando Canto”

See also: https://edcyphers.com/2013/06/19/songs-you-may-have-missed-428/

See also: https://edcyphers.com/2025/12/19/songs-you-may-have-missed-807/

Recommended Albums #95

Jeremy Messersmith: The Reluctant Graveyard (2010)

Minneapolis-based indie-popper Jeremy Messersmith trades in understated, intelligent songs often sung from some sort of outsider/underdog perspective.

Named one of NPR’s top ten albums of 2010, The Reluctant Graveyard is populated with ghouls, monsters, and even a rather pushy “deathbed salesman”.

Messersmith makes surprisingly effective relationship metaphors of these creepy characters on a dark, mostly melancholy-sounding record that evokes some of the Decemberists’ early work.

But lest you think Messersmith and Graveyard are monotonously morose, “Knots” breaks the dour mood with the kind of sprightly pop this guy can pull off every bit as effectively.

Still, the overall vibe is very Tim Burton. If you have a fondness for spooky songs with haunting melodies, you’ll be digging The Reluctant Graveyard

Also the video for “Organ Donor” is rather uh, humerus.

Don’t Miss: “Organ Donor”

Listen to: “Knots”

Listen to: “John the Determinist”

Listen to: “A Girl, a Boy, and a Graveyard”

Listen to: “Deathbed Salesman”

See also: https://edcyphers.com/2018/06/08/songs-you-may-have-missed-628/

Recommended Albums #94

Mariachi El Bronx (2009)

Just your typical Los Angeles punk band named after a borough of New York City playing music in a traditional Mexican style.

Actually, that is pretty punk.

The Bronx have been recording since 2002. After three eponymous releases under that band name they released the first of (at this writing) three albums of mariachi originals.

Not what you’d expect from a punk band, but said singer Matt Caughthran, “[Mariachi El Bronx] was something that was a part of us that we didn’t really realize. I mean, being from Los Angeles and, you know, growing up and surrounded by Mexican culture, it just kind of happened […] We were writing two or three songs a day for that record, and the lyrics and everything just kind of shit out of all of us […] it was the funnest and easiest record we’ve ever made.”

Fun to listen to also. Hope you agree.

Listen to: “Cell Mates”

Listen to: “Litigation”

Listen to: “Despretador”

Listen to: “Clown Powder”

Listen to: “Holy”

Listen to: “My Brother the Gun”

See also: https://edcyphers.com/2019/04/19/songs-you-may-have-missed-635/

See also: https://edcyphers.com/2015/01/16/songs-you-may-have-missed-519/

Recommended Albums #93

Wanderlust: All a View (2021)

Philadelphia quartet Wanderlust had a brief flirtation with major label status in the waning days of alternative rock’s radio domination, and their lone RCA album Prize from 1995 is highly regarded (and featured elsewhere within this blog).

Despite the critical success of that record and opening slots on tours by The Who and Collective Soul, the band were dropped by RCA before they could release a follow-up.

In the time since, front man/main songwriter Scot Sax has found success writing for major artists, including the Grammy-winning Faith Hill-Tim McGraw duet “Like We Never Loved at All”, while guitarist Rob Bonfiglio released numerous solo albums, established himself as a respected L.A. studio musician and toured with the Beach Boys and Brian Wilson’s band.

Then in 2020, Sax discovered a DAT tape of demos he’d written for a follow-up to Prize. Realizing the potential of the songs, he reconvened the foursome to give the material a proper band treatment.

Sax relates, “I feel like a young Cameron Crowe, with a story about a band that fell victim to its own insecurities in the bright lights — and with the big wigs — of the music business, circa 1995.”

Iconfetch.com

“Now, the same four guys find an old cassette of songs never recorded, long forgotten in their fall from grace. So what do they do? They make the album that never was.”

The band each laid down their parts separately from home during the pandemic–which is why the above video from the single “Corduroy Moon” doesn’t show them actually performing together.

The results lean less toward the heavy 90’s rock sound of their debut and instead bring a plethora of power pop and melodic rock notables to mind: The Raspberries on “2 Million Pieces”. Big Star and the Jayhawks on “Corduroy Moon”. Sloan and Joe Walsh on “Trick of the Light”. And Badfinger in the chorus of “I Can Be Moved”.

Pretty good company.

Listen to: “2 Million Pieces”

Listen to: “Corduroy Moon”

Listen to: “Trick of the Light”

Listen to: “I Can Be Moved”

See also: https://edcyphers.com/2012/10/21/songs-you-may-have-missed-202/

See also: https://edcyphers.com/2013/03/09/songs-you-may-have-missed-357/

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