Artist: Man Parrish

Album: Man Parrish

Year: 1982

Key Tracks: Hip Hop (Be Bop)

It's been awhile since I checked in but my pile of "virgin to my ears and I think anyone elses" vinyl has come to a close with Man Parrish.

I never heard of this artist previously but according to AMG he was a pioneer on the New York scene in the early 80's and combined disco, electronic, and funk to influence early hip-hop. Quite a feat. He did not make much music after this release. I'm not sure why. Maybe the ideas ran dry or he just was sick of the music business.

Whatever his reasons, when I first dropped the needle I was immediately struck by how strange this must have sounded in 1982. So many weird sounds but you want to dance to it. None of the other tracks match the impact of Hip Hop (Be Bop) but the album maintains the edgy feel throughout.

Top notch effort. Pick it up if you find it.

Winged Horses: Matthew Moore

Album: Winged Horses

Artist: Matthew Moore

Year: 1976

Songs of Note: Stay a Little Longer, Savannah

Most of the records I have been listening to for this self-appointed project have been by artists I have never heard of before. My hope was that I would uncover a lost masterpiece. What I am finding is that most records were hits because they were good and memorable. Whether that is a result of having heard a lot of this music on radio when growing up or from reading reviews in Rolling Stone or on Allmusic.com, I felt that maybe some of these acts didn't get a fair shake because of politics or some other circumstances. I feel Matthew Moore's "Winger Horses" fits into the circumstances category.

Writing music is something I have not tried to do. I don't think I will ever give it a try because I can't play any musical instruments very well. I do appreciate it when I hear talent, and I feel that Matthew Moore does have talent. The songs are all played very well. This album also sounds like it was mixed and produced with great care. I just can't see listening to this as anything other than background music.

The lead off track is "Savannah" and is probably the strongest track on the disc. I immediately thought of Fleetwood Mac. Off course Fleetwood Mac has the whole soap opera that goes along with it and the mysticism of Stevie Nicks to carry the day. These are the notions the listener already has before even dropping the needle. It makes the music interesting. Without that, the music needs to stand on it's own. That doesn't always work.

I have a hard time picking out any other songs. All the rest sound like what I would expect am soft rock radio in the 70's to sound like. Not as smooth to be 'Yacht Rock' caliber but professional none the less. This is one album that feels like a lot of care when into it's creation but will be destined for 70's soft rock oblivion.

Into Battle with the Art of Noise

Album: Into Battle With The Art of Noise

Artist: Art of Noise

Year: 1983

Songs of Note: Beat Box, Moments in Love, Flesh in Armor

Experimental music is something that has always intrigued me. Projects such as the Eno/Byrne collarboration, My Life in the Bush of the Ghost, that used actual sound bytes taped off of local radio programs from across America is a work I can appreciate but not really enjoy because the songs are not that memorable. Just like any scientific process, some experiments prove more fertile than others for future progress in the field.

Into Battle With the Art of Noise is one project that I see echoes of in modern music. Even though it is just an EP with only two full length songs, "Beat Box" and "Moments in Love", the sounds explored had a large influence on hip-hop and the electronic music of today. "Beat Box" sounds like it samples Yes' "Owner of a Lonely Heart", M's "Pop Music", brings in some hard drum machines to inspire Run-DMC and some real sounds that would later inspire DJ Shadow. If I were to transport myself back to 1983 I would think the song sounds like nothing else I had heard before. Listening in 2011, it's less groundbreaking and more charming as I try and spot what artists were inspired by this.

Most of the other songs are just 1 to 2 minute snippets. "Flesh in Armor" features some prominent record scratching while "Comes and Goes" has some very Eno-like textures and haunting vocals that remind me of being chased through a cemetery by lost souls.

I would recommend checking this out if your interested in industrial, electronic, or even hip-hop. Very interesting mix of experimental sounds and songs.

Henry Gross: Love is the Stuff

Title: Love is the Stuff

Artist: Henry Gross

Year: 1978

Songs of Note: Rock 'N' Roll I Love You

For those not familiar with Henry Gross, you are not alone. He was a founding member of Sha Na Na and had one minor hit "Shannon". This was inspired by the passing of Carl Wilson's Irish Setter. The song was also the subject of the long distance dedication that gave us this Casey Kasem gem where he flips his lid.

Side 1 starts strongly enough with "Rock 'N' I Love You", a lite rock number that would fit nicely alongside Gerry Rafferty or Michael McDonald era Doobie Brothers. Guitars are the driving force behind the song and Gross showcases a lovely falsetto. The rest of the songs on this side continue this lite rocking motif. "Love is the Stuff" and "Only the Beautiful" are surprisingly bitter given how upbeat the music sounds. "Love is the Stuff" outlines why a relationship is failing and "Only the Beautiful" seems to be him complaining how good looking people always get their way

Side 2 starts off with the sleepy number , "Where the Blue Begins". Todd Rundgren had already mastered this sound six years earlier on Something/Anything and moved on. The rest of the side bounces between styles, with a lite jazz rock of "Buy With My Heart" to more of a lite southern rock fare of "Creeping Jenny" and "Shakedown Your Love".

Overall, this was a surprisingly good album. I was not optimistic with the prominently featured chest hair on the cover but I gave the music a chance. This fits nicely in category of simple 70's lite rock that would play well at the pharmacy or dentist's waiting room.

Rain Forest: Paul Hardcastle

Album: Rain Forest

Artist: Paul Hardcastle

Year: 1985

Songs of Note: Rain Forest, Panic, Sound Chaser

Rocking one of the most awesomely 80's album covers ever is Paul Hardcastle with "Rain Forest". What more could you want, the fro is tight, the keyboard is featured prominently, and the green bars that were associated with computer worlds are all there. Of course this could only be a instrumental album. To really enjoy this you need to be paying close attention to really get the most out of your listening experience. For me, the electronic sounds made me think of video game music, specifically Mega Man. Some of the effects sounded a lot like the protoman whistle.

The tracks here either had a large influence on or were influenced by early hip-hop. I'm guessing it was hip-hop that had the influence because this was released in 1985. There are a lot of drum machines and synthesizers throughout. The standout tracks for me incorporate the electronic instruments and place them in the context of real songs, not using these electronic instruments just for the sake of using them. "Rain Forest" is probably one of the best known songs. At least that's what I can gather from my google search. I don't think it stands out anymore than some of the other tracks. My personal favorite was "Panic". It starts out with some record scratching a guitar riff and transitions into a synthesizer sound that reminded me of Big Boi's "Shutterbugg". Some vocal synthesizer sounds are sprinkled throughout.

I don't know much about Paul Hardcastle but this record shows that he was ahead of his time. I can appreciate the music but I don't think I need to listen to it again.

Speedy Keen: Y'Know Wot I Mean?

Artist: Speedy Keen

Album: Y'Know what I Mean?

Year: 1975

Songs of Note: Bad Boys, Almost Eighteen


What is a Speedy Keen? It is a former roommate and chauffeur of Pete Townshend and member of Thunderclap Newman of "Something in the Air" fame. Not a bad pedigree for a rocker. Unfortunately, Speedy does not do enough on this release to make himself stand out. Many of the songs on this record sound derivative and he doesn't establish a voice unique to Speedy Keen.

Much of the phrasing of the singing is very reminiscent of The Who and Pete Townshend. The lead track "Crazy Love" has a guitar riff that borrows extensively from George Harrison's "Apple Scruffs". Other tracks dabble in country and reggae to provide some variety.

Just because an artist is derivative does not necessarily make the music bad. It can be done in a way that at least makes it interesting to the listener. Speedy Keen tries and succeeds for the first half of the album. The second half is a real snoozer. It is the love side and is filled with ballads that did not hold my interest.

Does one side of record make it worth listening to? Not this record. It is was nice to see him experimenting in different styles on side one but the execution was just not there to carry one full album and what was at one time intended to be a double album.

William Oz: William Oz

Artist: William Oz

Album: William Oz

Year:1979

Songs of Note: Star Dreamer, She's Mine

"Pay no attention to that man behind the curtain". These are the words of the Wizard of Oz. Unlike the that classic character, William Oz is someone that wants your attention. He is begging you to care about the guy behind those shades, holding his cigarette in a way he thinks is cool. Maybe it is was his or idea or the photographer's, but the attitude given off by this shot is that I am huge deal even if you don't know it yet. After listening to the music I tend to think it was Mr. Oz's idea.

Most artists wait until they have made it big before looking back on the people they had to leave behind to make it big. The people you leave behind are usually the ones that supported you through the tough times and get the shaft after you make it big. Oz has not made it big yet but is already prepared to move on. After listening to the album, I'm surprised he didn't make it big. This is competent power-pop with some smart lyrics and good hooks. "Star Dreamer" , "She's Mine", and "You Can Count on Me" all sound like they could have been singles but never made it onto radio. I'm not sure why this.

There is also the question of what happened to this guy. With the other records I have been able find at least a little information on the artists. William Oz seems to have totally disappeared. This is a solid record if you like power-pop in the Rick Springfield vein. I think I will keep this one.