In-Car Entertainment

OK, this isn't quite going as planned. To make matters worse, I'm not going to be around for the next week or so. So how about I fill you in on what's been on the car CD player in the last week or so, and then we'll rethink the whole thing on my return? I'm wondering whether a weekly post with brief reviews of most things but a longer, detailed review of one thing might be the way forward.

First up is a 1993 solo album from Blondie's head-honchess, Deborah Harry. As you might expect from an album of that era, the pop tracks on Debravation are quite housey: lots of ding-ding-ding-dong-dong piano riffs and squelchy basslines. The odd thing is when you find towards the end of the album that Debbie returns to her roots and tries out more Blondie-sounding rocky tracks. An odd mix, really - they're not particularly strong songs, but then Harry is an esteemed showgirl and doesn't disappoint with her vocals. Her long-term partner Chris Stein unsuprisingly pops up to lend a hand. As far as I can tell, this CD isn't currently in print, so you'll just have to imagine it (or hunt on eBay).

I then had an aborted attempt to listen to Enigma's second album, Cross Of Changes. More chanting monks, synth pan-pipes and slightly Gallic-sounding female vocals - you know the score. I only remember listening to the first half, though; perhaps I gave someone a lift on the way home and so only caught the first few tracks?

Ah, yes, that's right, because then the next day I had a sudden urge to listen to the Kill Bill Vol 1 soundtrack, possibly caused by watching both Vols 1 & 2 a couple of nights earlier. I remember at the time being really disappointed with this CD, partly because I'd so loved Jackie Brown's soundtrack (to the point of it inspiring me to discover lots more about soul, funk & blaxplotation music) and partly because I found I just couldn't get into the strange mix of tracks. Like the film, it's a case of East meets West: a mixture of Japanese and country & western. However, my disappointed was entirely due to one thing : I hadn't seen the film when I first heard the CD. Listen to it again after watching it and it's like a whole different ballgame. The pieces take on meanings, conjure up images from the film - it's a very powerful set.

The musical highlight of the weekend was listening to the Top Gun soundtrack in appropriate surroundings. By which I mean, we played Berlin's "Take My Breath Away" whilst driving a Peugeot 309. It was on cassette! I haven't dealt with cassettes for a long time. I'd forgotten how wobbly they sound.

Back in my car and the luxuries of a CD player, next came Bob Dylan's Blood On The Tracks. If you read my earlier Dylan review, you'll know I'm scared of critiquing big albums. My job was made easier here, though, because I really got into this record. It's so easy: Dylan has produced an incredible collection of tunes. Yes, tunes: not something I can always associate with his other albums. As one of the all-time classic 'break-up' records, you can clearly hear Dylan's personal involvement with the songs. Perhaps that's why there's more emphasis and feeling in his singing than on his other works?

And finally in this round up, we move from one great non-vocalist to another. Probably my all-time favourite male solo artist, yes, it's Leonard Cohen. Don't laugh! 1993's The Future saw the most polished and produced Cohen-sound ever. His anthems of doomed youth and political corruption are all present and correct; his voice grating smoothly out of the speakers, like black treacle with lumps in. But, what's this? A lounge cover of Irving Berlin's "Always", and an attempt to usurp Barry White with "Be For Real". Leonard, you're having a laugh! And there's nothing wrong with that - all of Cohen's works have a wry smile to them; it's just more obvious here. His latest album is due out very soon - I can't wait.