3. Field Music – Open Here
Serendipity bonded me to the English pop-rock combo Field Music, led by Sunderland brothers David and Peter Brewis, on a sunny afternoon last winter. I’d only recently become aware of the 15-year-old group, having read a rave review of its sixth album, Open Here, in a magazine, and listened to the catchy, lyrically potent single “Count It Up” online. Curiosity piqued, I ambled down to my favourite Portsmouth record shop-slash-eatery Pie & Vinyl to see if perchance the album was in stock. I entered the shop to find, amongst the pies and the vinyl, none other than the Brewis bros performing an in-store set to a rapt audience. I was only able to catch the last song, but I grabbed a copy of Open Here and got them to autograph it. (Dig their marker scrawls on the cover in the accompanying photo.) In that moment, I felt that fate was telling me I’m meant to be a fan. Continue reading
5. Elvis Costello & The Imposters – Look Now
It was love at first listen. My devotion to Elvis Costello started when I wandered into a suburban Atlanta record store at the tender age of 16 and heard This Year’s Model blasting out of the sound system. I snapped up that album, Costello’s second, then and there, and returned to buy his equally brilliant debut, My Aim Is True, the next time I got paid. Dutifully, I purchased each successive release for many, many years, and saw him play live on three concert tours. Other than David Bowie, no solo artist takes up more space in my record collection. But as with any lengthy relationship, ours has had its rough patches. I’m lukewarm about Costello’s forays into genres outside his pop-rock wheelhouse, including classical music (The Juliet Letters) and country (Almost Blue). And sometime after 1989’s Spike, which featured his biggest U.S. hit, “Veronica,” the intensity of my ardour began to wane. In the years since, it’s dulled to a pleasant, comfortable-shoe familiarity. These days, I test-drive his latest efforts via streaming before committing to an LP or CD. I’ve never entertained the thought of “breaking up” with him – he’s meant too much to me in the past for that to happen. But the old magic has gone astray. Continue reading
3: Robyn Hitchcock – Robyn Hitchcock
This year’s comeback award, which I benevolently bestowed upon Martin Fry and ABC in 2016, goes to an Englishman who also did his most high-profile work in the 1980s. London-born singer-guitarist Robyn Hitchcock reached peak popularity in 1988 with the jaunty MTV hit “Balloon Man.” And while he’s never really gone away, continuing to release albums every few years, his recent output has been uneven and all too easy to ignore. Hitchcock’s latest is a heartening, supremely tuneful return to form. After 21 solo albums, he’s not reinventing the wheel here. Robyn Hitchcock serves up exactly what longtime fans want, witty, surreal lyrics set to jangly college-rock riffs with frequent Beatles-style flourishes. (The psychedelic pop gem “Autumn Sunglasses,” with its prominent cello accompaniment by Emily Nelson, digs particularly deep into the Fab Four’s bag of production tricks.) On the album closer, “Time Coast,” Hitchcock looks back on his 40-year career and seems to wonder if his best days are behind him. “I’m singing like a fossil, time goes by so fast,” he frets. But this dazzling collection of songs is proof positive that he’s still got it.