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Wednesday, 9 September 2026

Il Était Une Fois - Pomme (1978)

Joëlle Mogensen, the group's lead singer, was born in 1953 on Long Island, New York. 
In 1969, she moved to France with her parents, settling in Grimaud in the Var region. 
While on holiday in Saint-Tropez, she met two musicians from Michel Polnareff's band: Richard Dewitte (drums, vocals) and Serge Koolenn (guitar, vocals. 
A connection was formed, and the trio settled in Colombes, near Paris. 
Leaving Michel Polnareff's band behind, Serge Koolenn and Richard Dewitte struck out on their own. 
They began touring the club circuit: Richard handling the sound system, while Serge and Joëlle worked behind the bar.
French group that existed from 1972 to 1979. Their biggest hit was ''J'ai encore rêvé d'elle'' in 1975.
Il Était Une Fois is the self-titled fourth and final studio album by the French variety-pop group Il Était Une Fois, released in 1978. 
The album is sometimes released under the title Pomme.  
The album was written during a period of high emotional tension. 
Many of the songs reflect the real-life romantic separation between lead singer Joëlle Mogensen and primary songwriter Serge Koolenn. 
This gave the record a noticeably more melancholic, mature tone compared to their earlier upbeat radio hits. 
Recorded in the United States at the Studio In The Country in Bogalusa, Louisiana, the album serves as a poignant farewell from the band.


Tracklist

1.  Pomme  (Serge Koolenn; Richard Dewitte) - 2:57
2.  Elle, Delta  (Serge Koolenn; Richard Dewitte) - 3:15
3.  Moi, Si J’Étais Toi  (Serge Koolenn; Lionel Gaillardin) - 3:52
4.  Mes Aventures  (Serge Koolenn) - 3:04
5.  Tant De Choses  (Serge Koolenn; Lionel Gaillardin) - 1:52
6.  Le Droit De Rêver  (Serge Koolenn; Richard Dewitte) - 3:55
7.  Mon Cœur  (Serge Koolenn; Richard Dewitte) - 3:30
8.  Il A Bon Goût  (Serge Koolenn; Lionel Gaillardin) - 3:12
9.  Et Les Deux, Pourquoi Pas?  (Serge Koolenn; Lionel Gaillardin) - 2:44
10.  Rock And Escrock  (Serge Koolenn; Jean-Louis Dronne) - 2:40


Band
Joëlle Morgensen
Richard Dewitte
Serge Koolenn
Lionel Gaillardin
Satoshi Nakamura
Jean-Louis Dronne

Musicians
Bass - Klaus Voormann
Drums, Pertcussion - Jim Gordon
Guitar - Amos Garrett
Synthesizer, Hammond Organ, Piano - Bill Payne
Guitar- Lionel Gaillardin


Liner Notes
Producer – Philippe Rault
Arrangement By (Horns) – Lon Price (Tracks 1,3,6)
Engineer – Bobby Thomas
Engineer (Assistant) – Brad Aaron, David Craig, Dave Farrell

Art Direction – Laurent Thierry-Mieg
Photography By – Tony Frank

Mixed At Westlake Studios
Recorded At Studio In The Country
Phonographic Copyright Pathé Marconi EMI
Copyright Pathé Marconi EMI
Cover Design – Lemonart, Munich

Recorded at Tom’s Studio
Recorded at Jeff’s Studio
Recorded at Rick’s Studio
Recorded at Marks Studio
Mastered at Bernie Grundman Mastering, Los Angeles, CA


Notes
Released: 1978
Genre:  Franstalig Pop
Style:  Pop Rock, Vocal, Ballad
Total time:  30:43

Label - Pathé 

Ping Pong - From Exile (1982)

Sophistopop - a synthy substrata of mid/late '80s Top 40 pop practitioned by well-coifed, debonair European acts who tamped down ever so slightly on New Romantic affectations in exchange for a more genteel approach, often bumping up against yacht rock (i.e. adult contemporary) and downtempo R&B.  
You may not have heard of the genre before, but you're certainly familiar with the bevy of groups that ran it up the charts (perhaps to your chagrin): Curiosity Killed the Cat, Johnny Hates Jazz, Breathe, Swing Out Sister, and let's not forget Double. 
An export of Switzerland, their lone U.S. hit, the sax-laden "Captain of Her Heart" batted a swanky run all the way to the 16th slot onto the Billboard Hot 100 circa 1986.  
To be honest I had barely thought about this song since, save for it's ubiquitous afterlife as piped-in music at department stores.  
Yet even if you were an ear-to-the-ground music snob binging on the likes of the Replacements and Cocteau Twins the tune (and those churned out at a rapid clip by several of the aforementioned) was generally respectable.  
Perhaps out of sheer boredom I looked Double up to get the skinny on them.  
Turns out they spun-off another Zurich aggregation dubbed Ping Pong who were responsible for the 1982 album I'm sharing.  
As is the case with most non-phenomenon outfits pre-internet, details are scarce on this trio, but despite the group's faint footprint what they were peddling music-wise was worthy of a few spins.  
Not straight up new-wavers, P/P would have blended in fairly seamlessly with the mainstream modern rock set, with frontman Kurt Maloo approximating a mild mannered hybrid of Michael Hutchinson, Mick Jagger, and even a speck of Stan Ridgeway.  
Soncially on par with the likes of the Police, albeit half as innovative, white-boy reggae rhythms pepper numerous forays on From Exile.  
On a more overarching basis however I find myself persuaded by the tranquil, chiming guitar fills allotted perfectly virtually wherever the needle lands here.


Tracks

1.  Euronet-Diane - 3:57
2.  Pictures - 4:22
3.  Mayday - 3:27
4.  I Want Your Love - 3:30
5.  Rhythm Walk - 4:07
6.  Willie - 3:35
7.  (I've Been) Waiting for You - 3:55
8.  Pedro - 3:39
9.  Crocomation  3:55
10.  Joe Doe - 5:44


Companis, etc.

Notes
Released:  1982
Genre: Electronic, Jazz, Rock
Style:  New Wave
Total time:  40:37

Label - Big Mouth 

Tuesday, 8 September 2026

Desireless - Référence 80 (2012)

French singer. Born Claudie Fritsch-Mentrop on 25 December 1952.
After a brief career as a fashion designer (releasing a collection with friend Claude Sabbah) and several trips to India (1980), she found her way into singing. She met producer Jean-Michel Rivat in 1984, who would write and produce her biggest hits. 
In 1985 Claudie met François Tabah, with whom she would live for 18 years.
After the release of her first singles with Air, "Cherchez l'Amour Fou" (1984) and "Qui Peut Savoir" (1986), her debut solo single, "Voyage, Voyage" was first released in 1986, as Desireless. 
The song reaches high positions on European charts (even in Russia) and is an instant club hit. In 1990, Desireless releases her first album, "François", named after her lover. 
The birth of Claudie's daughter the same year forces her to leave show business for a while.
Her second album "I Love You" is released in 1994. 
This time, Claudie wrote many of the tracks and many styles are explored.
Since then, she took a much personal approach to music and got out of the big business circuit. 
She still performs and works with many collaborators, her styles ranging from Electronica to Bossa Nova to Acoustic. 
Recent recordings with Operation Of The Sun mark a return to a synth-pop sound of the late 80s.

These special series titled "Référence 80" continue in 2012 with 8 additional volumes of French and International pop compiling the best songs from artists including rare materials and maxi mixes in which some are only available on these CDs.

Exceptional sound and mastering from original master tapes

Tracks

1.  Desireless - Voyage, Voyage  (Extended Remix) - 6:46
2.  Desireless - John  (UK Single Remix) - 4:17
3.  Desireless - Qui Sommes Nous  (Europe Remix) - 6:38
4.  Desireless - Elle Est Comme Les Etoiles  (Remix 45T) - 4:24
5.  Air - Qui Peut Savoir  (Version 45T) - 3:47
6.  Air - Star - 4:40
7.  Desireless - Voyage, Voyage  (Euro Remix Remix) - 6:12
8.  Desireless - John  (London Remix) - 6:23
9.  Desireless - Elle Est Comme Les Etoiles  (Remix Club) - 8:16
10.  Desireless - Voyage, Voyage  (Britmix) - 7:08
11.  Desireless - John  (Remix) - 6:28
12.  Air - Qui Peut Savoir  (Version Longue) - 5:33
13.  Desireless - Voyage, Voyage  (UK Single Remix) - 4:24
14.  Desireless - Qui Sommes Nous  (Version  Instrumentale) - 4:25
                                                                  

Companies, etc.

Notes
Released:  Mar 2012 
Series:  Référence 80 
Genre:  Electronic, Pop 
Style:  Synth-pop 
Runtime:  1:19:21

Label - LM Music 

Monday, 7 September 2026

Vecchio - Afro-Rock (1971)

Afro-Rock is a ten-track Exotica LP with Dub influences, co-written by British composer, arranger and nightclub bouncer (!) Peter Reno, born Cliff Twemlow (1937–1993), and one dubious gestalt named Luis Vecchio who could or could not be simply another moniker of Twemlow, as this is one of only a few records to ever officially feature his involvement.
A totally killer sound library set -- every bit as funky as others that have been issued under the Afro Rock title -- but a lot more obscure! 
The group here has wicked bass and plenty of percussion next to the drums -- and the top of the sound also has some horn work that underscores more contemporary soul touches -- as the whole thing holds together like some of the best Afro-inspired work on the London scene at the time, with maybe some keyboard touches that feel like they're lifted out of the Bay Area or East LA!
Released on the – currently restructured at time of writing this review – De Wolfe Music label in 1971, the opalescent, wildly slick aura of the album is diminished by various saddening factors about which I could ramble and write several additional paragraphs; my forthcoming reviews of records released on the label will offer additional pieces from the puzzle. For now, there are two major things to say about Afro-Rock: firstly, its endemic style is awe-inspiring. 
Brass infusions, bongo and conga percussion, flute tones, organ goodness and Funk guitars grace the ten unique movements, rhythm shifts and drum solos included. Decidedly funky, adamantly Rock-infested, the album is a blast. 
The album is opened by Megaton that includes smooth organ play combined with an aggressive bassline. It is suitable described as "dramatic, furitive movement" on the back of the cover. 
Next up is Renegade that would have been perfect for a blaxploitation flick. Repetitive bass riffs are joined by nice bongos. 
Facade is a little up-tempo groover. The funky organ and the horns are dominant on this tune. There is a great percussion solo in the mid-section. Chabati could have been on an Fela Ransome-Kuti & The Africa '70 recording. 
Pure afro-funk! The last track on side one is Green Hell. 6.41 minutes of moody, paste changing jungle madness. 
Side two is no different from side one. Boss is opened by heavy drums. Brass and organ come in shortly after the bass and in the end, the flute just adds up to the feeling of this mean up-tempo track. 
Nsambai and Wabaco are both stunning examples of the quality of the music to be heard on Afro-Rock. 
The highlight is the fantastic funky organ and brass work. 
The description for Cult truly says it all: "Steady movement – sinister overtones". 
My favorite track is Ngoma-Ku. A rare groove gem with a bluesy, jazzy feel. With all the decent solos, I never get bored listening to this one.
The album is an afro funk bomb from start to finish. I think it's a lot better than KPM's Afro-Rock by John Cameron. 


Tracks

1.  Megaton - 5:01
2.  Renegade - 5:05
3.  Facade - 3:18
4.  Chabati - 3:11
5.  Green Hell - 6:41
6.  Boss - 3:55
7.  Nsambei - 4:00
8.  Waboco - 3:29
9.  Cult - 4:37
10.  Ngoma-ku - 7:04


Companies, etc.

Notes
Released:  1971
Genre:  Jazz, Funk / Soul
Style:  Jazz-Funk, Jazz-Rock
Total time:  46:26

Label - Music De Wolfe 

Talking Heads - Talking Heads: 77 (1977)

Talking Heads: 77 is the debut studio album by the American rock band Talking Heads, released on September 16, 1977, by Sire Records. 
The recording took place in April 1977 at New York's Sundragon Studios. 
The single "Psycho Killer" reached No. 92 on the U.S. Billboard Hot 100.
Talking Heads were among the first bands from the scene that emerged from New York's CBGB in the mid-'70s to reach a national audience, at a time when "punk rock" was a fresh concept still making its way into Middle America. 
If their debut album, 1977's Talking Heads: 77, doesn't sound like punk rock from a remove of over four decades, that has more to do with how "punk" was soon codified as a genre rather than a way of approaching their art, and underestimates how striking and groundbreaking they truly were. 
Talking Heads clearly had musical antecedents in 1960s pop and rock, classic soul, and folk-rock, though it was obvious from the first they were mixing those ingredients in a unique way, and adding the edgy, nervous energy of David Byrne's songs and vocals truly set them apart. 
Byrne was fortunate to have a band that was both talented and simpatico -- Tina Weymouth's bass and Chris Frantz's drums give the tunes a churning groove, sometimes funky and sometimes motoric, and though Jerry Harrison was still growing into his role as the group's utility man, his guitar and keyboards give the performances a depth and texture they need. 
That said, Byrne was the wild card who made Talking Heads something different; the nervous gulp of his vocals, his lyrical voice that took a quizzical look at the world around him and the emotions moving within him, and the melodies that managed to be both herky-jerky and inviting at the same time were all fresh and intriguing, and they still sound that way all these years later. 
The arrangements and production on Talking Heads: 77 suggest that the folks at the controls were trying to find a way to make this music a bit easier to swallow for the uninitiated, and the steel drums on "Uh-Oh, Love Comes to Town," the sax and marimba on "First Week/Last Week…Carefree," and the playful bounce of "Don't Worry About the Government" feel a bit out of place within the context of the band's next two albums, 1978's More Songs About Buildings and Food and 1979's Fear of Music, which rank with their finest work. 
But the final two tracks, "Psycho Killer" and "Pulled Up," end the show with a bang and point to the brilliant music they would make in the years to come. Talking Heads: 77 was a striking debut that sounds even better now than when it first arrived.


Tracks

1.  Uh-Oh, Love Comes to Town - 2:48
2.  New Feeling - 3:09
3.  Tentative Decisions - 3:04
4.  Happy Day - 3:55
5.  Who Is It? - 1:41
6.  No Compassion - 4:47
7.  The Book I Read - 4:06
8.  Don't Worry About the Government - 3:00
9.  First Week/Last Week…Carefree - 3:19
10.  Psycho Killer  (Byrne, Chris Frantz, Tina Weymouth) - 4:19
11.  Pulled Up - 4:29

All tracks are written by David Byrne, except where noted

Talking Heads


Additional musicians
  • Lew Del Gatto – saxophone on "First Week/Last Week…Carefree"
  • Jimmy Maelen – marimba on "First Week/Last Week…Carefree", percussion

Production

Companies, etc.


Notes
Released:  September 16, 1977
Recorded:  April–May, July 1977 
Studios Sundragon (New York City) / ODO (New York City)
Genres:  New wave, art rock, avant funk
Length:  38:37
Producers:  Tony Bongiovi, Lance Quinn, Talking Heads

Label - Sire

Sunday, 6 September 2026

The Mission (US) - Let's Get Together (1969)

The band was originally called The Montfort Singers & The Mission Singers, later becoming The Montfort Mission, and finally The Mission.
1969 release "Let's Get Together", ecumenically minded Christian psych-folk and gospel-pop record. 
Created by a group of Roman Catholic seminarians from the Montfort Missionary society under the alias The Mission, it captures a fascinating late-1960s snapshot of church modernization. 

Vibe and Sound: The music blends earnest, harmony-driven folk-pop with optimistic counterculture warmth of the late '60s, attempting to make religious messages relevant to a changing youth culture.

Standout Elements: Aside from original devotional tunes, the project gained minor cult-digging interest years later for its period-piece arrangements and covers (such as a version of Diane Hildebrand’s "Shades of Gray").  

Collectibility: Largely a footnote today apart from crate-diggers and collectors of niche 1969 psych-folk and religious private-press vinyl, copies trade infrequently on platforms like Discogs for modest sums. (Note: This project is entirely distinct from the famous UK goth-rock band The Mission formed in 1986 by Wayne Hussey).


Tracks

A1. Let's Get Together - 2:18
A2. Hymn - 2:08
A3. Listen Part 1 - 2:54
A4. Susanne - 3:26
A5. The Good Times We Had - 2:46
A6. Medley "For Friends" - 4:03
      (a) We'll Meet Again
      (b) Positively 4th Street

B1. Turn, Turn, Turn - 3:01
B2. Pilgrimage To Paradise - 3:27
B3. Everything's Just Fine - 2:30
B4. Shades Of Gray - 4:06
B5. It's So Good To Be With You - 2:!5


Companies, etc.

Notes
Released:  Dec 1969
Genre:  Funk / Soul, Folk, World, & Country
Style:  Religious, Folk
total time:   32:58

Label: Tribute Records 

Pepsi & Shirlie - All Right Now (Special Edition) (2011)

Pepsi & Shirlie were an English pop duo group formed in London in 1985 by two backing singers for Wham! 
The act comprised Helen "Pepsi" DeMacque (born 10 December 1958, Paddington, London) and Shirlie Holliman (born 18 April 1962, Watford, Hertfordshire), who had been Wham! backing vocalists. 
Holliman's original singing partner, Dee C. Lee, had earlier left the group to join the Style Council and later married its lead vocalist Paul Weller.
All Right Now is the 1987 debut album by vocalists Pepsi & Shirlie. 
The album gave two top 10 hits in the UK for the duo: "Heartache" (No. 2) and "Goodbye Stranger" (No. 9).
The other three singles fared less well, hitting below the top 40 of the UK Singles Chart (although "Can't Give Me Love" attained more respectable peaks. Pepsi & Shirlie produced two of the tracks themselves: "What's Going On Inside Your Head?" and "Crime of Passion".
Released in 2011 by Cherry Pop, the Special Edition of Pepsi & Shirlie’s 1987 debut album All Right Now is a digitally remastered and expanded reissue. 
It packages the duo's classic pop tracks with rare 12" mixes, B-sides, and a previously unreleased Stock Aitken Waterman track ("Who's Gonna Catch You?"), earning praise for its thorough archival value


Tracks

1.  Heartache - 3:38
2.  Lovers' Revolution - 3:36
3.  Can't Give Me Love - 3:42
4.  High Time (Jellybean Remix) - 3:43
5.  What's Going On Inside Your Head? - 4:20
6.  Goodbye Stranger - 3:34
7.  Surrender - 4:06
8.  Crime of Passion - 3:49
9.  All Right Now - 3:38

Bonus tracks

10.  Who's Gonna Catch You (When You Fall)? - 3:25
11.  Feels Like The First Time  - 4:29
12.  Dreaming - 4:52
13.  It's A Shame - 4:20
14.  Heartache (Dot & Daisy's Club Remix) - 7:39
15.  Goodbye Stranger (Extended Version) - 7:21
16.  Can't Give Me Love (Extended Version) - 6:54
17.  Who's Gonna Catch You (When You Fall)? (Extended Version) - 5:59


Companies, etc.

Notes
Released:  Apr 25, 2011 
Format:  CD, Album, Reissue, Remastered, Special Edition 
Genre:  Pop, Electronic, Synth-pop
Total Time:  1:18:00

Label - Cherry Pop 

Saturday, 5 September 2026

Anne Clark - Pressure Points (1985)

After signing a deal with SPV GmbH, she released her first album, The Sitting Room, in 1982. 
On which she worked with Dominic Appleton of This Mortal Coil.
Clarke then began collaborating with keyboard player David Harrow, who she had known from the Warehouse Theatre. 
Their first release together was her second album 1983's Changing Places, followed by EP Joined up Writing in 1984.
Joined up Writing contained the song "Our Darkness", that was one of Clark's most notable successes. 
The song was put on a list of the 20 best industrial and EBM records of all time by Fact magazine in 2014. 
Fact describe it as "An influential proto-house record". 
After being moved to another Virgin subsidiary, 10 Records, Clark released the John Foxx-produced album Pressure Points in 1985. 
The album features the song Heaven which was considered a moderately successful hit across Europe
From the first track 'Heaven' the tone Anne sets is clear: rebellious and political. 
But even though her passion is clear and she definitely seems commited; the spark doesnt cross over to me. 
In 'Red Sands' she makes one of the most universal statements about 'war being bad' and she does it very direct. 
Some subtlety in her poetry would be better.
The rest of the album passes way too slowly, the music hardly ever interests me: these are the 80s characteristics I really don't like. 
Its not particularly enjoyable, moving or even interesting. 
Such a shame its not bland enough to function as background music.
I still admire her enthusiasm and how dedicated she sounds.


Tracks

1.  Heaven - 4:02
2.  Red Sands - 3:16
3.  Alarm Call - 3:55
4.  Tide - 2:26
5.  The Interruption - 2:34
6.  The Power Game - 3:06
7.  World Without Warning - 4:00
8.  Bursting - 4:14
9.  Lovers Retreat - 3:41


Companies, etc.

All tracks were recorded at The Garden Studio London, during July 1985 except "The Power Game" which was recorded at The Point Studio, London during March 1985


Notes
Release:  1985
Genre:  Synthpop, Art Pop, Darkwave
Total Time:  31:14

Label - 10 Records

Tuesday, 11 August 2026

Garbage - Anthology (2022)




















Disc 1
1.  Vow - 4:30
2.  Subhuman - 4:34
3.  Only Happy When It Rains - 3:46
4.  Queer - 4:38
5.  Stupid Girl - 4:19
6.  Milk - 3:55
7.  #1 Crush - 4:41
8.  Push It - 4:03
9.  I Think I’m Paranoid - 3:38
10.  Special - 3:44
11.  When I Grow Up - 3:25
12.  The Trick Is to Keep Breathing - 4:12
13.  You Look So Fine (Single Version) - 3:50
14.  The World Is Not Enough - 3:58
15.  Androgyny - 3:10
16.  Cherry Lips (Go Baby Go!) - 3:12
17.  Breaking Up the Girl - 3:33
18.  Shut Your Mouth - 3:26

Disc 2
1.  Why Do You Love Me - 3:52
2.  Bleed Like Me - 4:01
3.  Sex Is Not the Enemy - 3:07
4.  Run Baby Run - 3:58
5.  Tell Me Where It Hurts - 4:11
6.  Witness to Your Love - 3:40
7.  Blood for Poppies - 03:39
8.  Battle in Me - 4:15
9.  Automatic Systematic Habit - 3:19
10.  Big Bright World - 3:36
11.  Control - 4:12
12.  Empty - 3:55
13.  Magnetized - 3:55
14.  Even Though Our Love is Doomed - 5:27
15.  No Horses - 5:24
16.  The Men Who Rule the World - 4:29
17.  No Gods No Masters - 4:32


Disc 1 tracks 1-6 taken from Garbage sessions originally recorded at Smart Studios in Madison, Wisconsin, USA.
#1 Crush originally recorded Smart Studios in 1995
Disc 1 tracks 8-13 taken from Version 2.0 sessions originally recorded at Smart Studios.
The World Is Not Enough originally recorded at Metropolis, London, Air Studios, London and Armoury Studios, Vancouver in 1999 for the MGM Motion Picture, The World Is Not Enough
Disc 1 tracks 15-18 taken from Beautiful Garbage sessions originally recorded at Smart Studios.
Disc 2 tracks 1-4 taken from Bleed Like Me sessions originally recorded at Smart Studios, Sound City in Van Nuys, CA; The Boat in Los Angeles, CA and GrungeIsDead in Silverlake, CA.
Tell Me Where It Hurts taken from Absolute Garbage recorded at Kung Foo Sound, Los Angeles, CA and GrungeIsDead
Witness To Your Love (previously unreleased) originally recorded at GrungeIsDead
Disc 2 tracks 7-11 taken from Not Your Kind Of People sessions recorded at Red Razor Sounds, Atwater Village, CA with additional recording at GrungeIsDead; The Pass in Studio City, CA; Snowglobe Studios Co, East West, Hollywood, CA and Smart Studios
Disc 2 tracks 12-14 taken from Strange Little Birds sessions originally recorded at Red Razor Sounds with additional recording at GrungeIsDead.
No Horses originally recorded at Red Razor Sounds in 2017.
Disc 2 tracks 16-17 taken from No Gods, No Masters sessions originally recorded at Red Razor Sounds.


Companies, etc.

Credits

Notes
Released:  October 28, 2022 
Recorded: 1994–2021 Studios Smart, Madison, Wisconsin GrungeIsDead, Silver Lake, California
Genre:  Alternative rock
Length: 139:45