Early on in my appreciation of music, I developed a bit of a mistrust of electronic instruments. I remember owning an early Queen LP which proudly stated "No Synthesizers" as a sort of trademark of quality. I'm not sure quite how I squared this with them becoming one of the most over-produced studio acts of the last century as their career developed. There was however, something somehow less authentic about the synthesised sounds which were bouncing around the charts in the 80s, and some sort of half-inherited and half-affected punk ethic convinced me that only things you strummed or banged vigorously were really proper musical instruments. Years later, after my own rather tawdry experiments in musicianship my view has changed somewhat - but the art of the remixer or producer is still a bit of an arcane one to me. What trickery goes on behind those vast, complicated mixing desks? What dark arts are deployed to turn something familiar and loved into something which is sometimes unrecognisable?
Starting with a very familiar track from Panda Su is brave indeed. Su Shaw's near deadpan, carefully enunciated vocal is right at the front and demands attention. Meanwhile a delicately plucked banjo and swells of contextual noise weave around a decidedly baggy, 1990s beat. Common's recording of the track, despite filling out the spaces with texture, feels a little more raw and close to the nerve. It's a remarkable start to a record full of surprises in fact. One of those surprises is the artists which Jonnie has chosen to work with on DESKJOB - Adam Beattie is only vaguely familiar to me, but on the basis of his track here deserves my attention. A slight, fragile almost-country ballad is delivered in a disarmingly untouched recording - however, it becomes apparent as the track progresses that Jonnie's recording seems to foreground the squeak of strings, the tap of fingers on fretboard. Indeed all of the sounds which modern production values seems to screen out of the mix are here, adding depth and colour. As the track resolves into a chorus of sorts, there is a more traditional swell of electronica - but this too is entirely in context and doesn't overwhelm the sense of a live, intimate recording.
Meursault's contribution "And Butter Wouldn't Melt" is oddly sweetened by the Common treatment. A distant shimmer of noise and synthetic beats makes for a drunken, woozy backdrop in contrast to Meursault's usually spare and distinctly wintry arrangements. Neil Pennycook's trademark cracked vocal soars as a flourish of keyboards spirals into the proceedings. One verse in and a more robust clatter sets up, the song urged forward by a pulsing bass rhythm. As with most things which Meursault do this has the power to stop you in your tracks, and as Pennycook howls "...and god help you if you get lost" it becomes perhaps a little clearer how Jonnie Common has approached this project - as a collaboration and not a post-production exercise. This is particularly evident on "Nae Luck" contributed by Edinburgh DIY stalwart The Oates Field. From the outset found sounds chatter and skitter around the background, leaving ample space for Alan Oates affecting, damaged vocal. When Common's shimmering touches of organ arrive it bolsters the fragile composition. Never overwhelming what's essentially a slight, aching effort. Short and simple but perhaps the highlight of the record for me, because it sums up fairly completely the agenda of both the musician and the producer - and indicates how they fuse successfully.
It's important of course to remember that Jonnie Common is a musician himself, and has spent a fair bit of time on the other side of the mixing desk - often working alongside the artists featured here. As far as this compilation goes, this is represented by an alternate version of Inspector Tapehead's "Pherenzik Tear". Pared back to the organic instrumental sounds, we're treated to a deceptively simplified version of the track. Ingenious flicks of electronica underpin the beautiful interplay of piano and acoustic guitar. The eastern influences seemingly more apparent in this version with tabla style drums and percussion taking centre stage in the mix. Pulsing across the speakers, the vocal is more than ever a surreal rap, chanted over warbling electronics. It's both immense fun in it's own right, and an intriguing view into the development of the song as it later appeared on last year's "Duress Code" album. It also highlights the fact that Jonnie Common as composer and musician is as much part of this album as his persona of producer or remixer.
Indeed, Jonnie Common is keen to distance himself from the term 'remix' and that's an entirely fair comment. This collection of songs represent him working organically with a crop of remarkably talented musicians, often from the very conception of the song forwards. While these reworkings never strip away the core of the performer and their art like many remixes seem to, the recordings and the atmospheres in which the songs are captured are undeniably Jonnie's. The songs take on a new, revised life of their own which is more than the simple sum of these parts. But is it an album in it's own right? Ultimately yes - it certainly hangs together as an immensely enjoyable compilation, with Common's individual approach enough of a theme but never the dominant factor. Ultimately the remarkable roster of artists selected here is the key to this record, and we can add 'quality control' to Jonnie Common's already embarrassingly complete skill-set.
The Oates Field - Nae Luck
A Leisurely Stroll Via The Footpath Way 17 years ago
Posted in Railways on Saturday 18th April 2009 at 8:14pm
This weekend is, in a number of ways, the calm before the storm! Aside from some work-related issues which don't belong here for a number of reasons, starting next weekend I plunge into an intensive month or so of events and trips which I'm really looking forward to. With the blockade still in force here, it left a lull today which demand some leisurely semi-local travels on long neglected lines. The day started with the 07:20 bus to Bristol - a later start than usual, but a bit of a drag. However, the buses have yet to let me down, and have been on time every time I've used them so far. The much more sensible pattern of bus services seems to work too. The bus dropped us outside Arch 51 bang on time, producing Mr Spinks' first trek into the bowels of Temple Meads station, emerging at the coffee truck and with a few minutes to spare until the 08:41 for Worcester. A rumbling overhead alerted us to something interesting happening, and we emerged from the subway to find 57006 uncoupling from a rake of InterCity 'Swallow' liveried Mk 2 coaches in the centre road. It wasn't clear why they were there, but it made for an interesting start to the day.
Over to platform 9 to find a pair of 158s coupling up for the journey to Worcester. We'd flagged the Voyager to Cheltenham in favour of the more leisurely saunter directly to our destination. As we pressed on northwards, the clouds parted and the day started to get warmer. Soon heading into Foregate Street for the first time in a good few years! With half an hour or so to spare, headed down the steep stairs for a brief wander outside. Found the Post Office beside the station had turned into a less than brilliant example of a Tesco Metro store, whilst Mr Spinks headed for the local newsagent to claim his free Slush Puppy! Back onto the platform to board the London Paddington bound train, via the North Cotswold line. This rather slow, meandering line hasn't figured in my itinerary for many, many years - but it seemed to suit today with its rather warm drowsy weather, and leisurely feel. Through Shrub Hill and over Norton Junction into places which featured large in my childhood - like Pershore and Evesham. The predominantly single line route occasionally displaying signs of former importance, not least at Honeybourne where signs of the former route to Stratford remain, of which the Gloucestershire and Warwickshire remainder and Long Marston complex are the only operational traces. Dozed my way towards Oxford in a reasonably busy HST, remembering my last trip this way was on a cramped Turbo which seemed to take much longer. Noted some long waits in stations, with no obvious crossing services. Difficult not to consider the connections in this area with Algernon Gissing, to whom the title of this entry is a passing reference.
Soon crossing over at Wolvercote Junction and heading into Oxford. From here, the route was a little more familiar into London Paddington, via the avoiding curve at Didcot. Noted much of Old Oak Common depot had been cleared of stock and locos, but this had exposed a clear view of a line-up at the rear of the depot in which former royal locomotive 47999 was clearly visible. About an hour in Paddington - time for coffee and a wander around before boarding a Bristol bound service. The plan was to head back and get one of the diverted Crosscountry services down to Taunton for a bus back home. 1V47 duly produced a HST to our relief, and we enjoyed a very relaxing and entertaining cruise down to Taunton via Westbury and Castle Cary. It was touch and go all the way whether we'd arrive in time to watch the NENTA tour from Kingswear on it's return journey. In the end we made it by minutes, reaching the end of the platform and pointing the camera just as the tour thundered under Forty Steps bridge.
Stuck around to chat with some of the locals about the sterling performance, before heading for the buses home. Later heard that 47854 caught fire at Westbury, leaving 47804 to head home solo! A nice, easy day out with some interesting surprises.
Daylog Entry for Wednesday 18/04/2001 25 years ago
Posted in Updates on Wednesday 18th April 2001 at 12:00am
After much hacking around, gratuitous symlinking, false starting and blind alley traversing, I managed to get gIDE to build! I don't think it's really usable as such, but after seeing Dirk Vangestel hacking on it during the flight from CPH I wanted it working. In other news, the Brit Quiz is cancelled due to quizmaster incapacity and low attendance. Reviewed Weston's new bars instead - I think red paint is cheap somewhere?
Lost::MikeGTN
I've had a home on the web for more years than I care to remember, and a few kind souls persuade me it's worth persisting with keeping it updated. This current incarnation of the site is centred around the blog posts which began back in 1999 as 'the daylog' and continued through my travels and tribulations during the following years.
I don't get out and about nearly as much these days, but I do try to record significant events and trips for posterity. You may also have arrived here by following the trail to my former music blog Songs Heard On Fast Trains. That content is preserved here too.
