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Tonight’s show features not one, but TWO legends: Cyndi Lauper and Rod Stewart! We’re diving into their careers, music, and yes, the hair choices they’d probably rather forget.
Plus, I’m spinning tunes from Adrian Belew, Big Star, Toad the Wet Sprocket, Love Jones, Royel Otis, Hamilton Leithauser, Maggie Rogers, Gillian Hills, and Julie London. 6p ET on 91.9 WFPK . It’s a lineup so good, even Rod’s mullet might tune in.
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Cocteau Signature Tunes
1986
New Wave / Synthpop / Art Rock / Avant Garde / Art Pop / Avant-Pop / Ambient / Dream Pop
It's honestly quite crazy to me just how under-discussed the prolific career of Bill Nelson's has been. Broadly speaking, his output and path is not all that dissimilar to that of Brian Eno's. Having come up in the UK during a similar time period, Nelson's had the freedom to go wherever his own interests have led him, in constant defiance of being pigeon-holed as his own creative genius enables him to escape the concept of being made to almost exclusively stick to just one genre. Traversing from art- and prog rock, to synthpop and new wave, and eventually settling deeply into ambient and experimentalism, Bill Nelson has developed his own under-the-radar cult following, generating his very own fan convention that's dedicated solely to him, Nelsonica, and yet, among a milieu that includes the likes of an aforementioned Eno and other forward-thinking, pioneering avantronic luminaries like Steve Reich, Harold Budd, Yellow Magic Orchestra, Kraftwerk, Gary Numan, Klaus Schulze, Terry Riley, and Bill Laswell et. al., his name, inexplicably, might be the least recognized out of that whole star-studded bunch.
And in 1980, Nelson and his manager launched a label called Cocteau Records, named after one of his own idols, the enigmatic French poet, playwright, director, visual artist, critic, and designer Jean Cocteau. Oftentimes it seems, in bios of Nelson, this label is reduced down to being explained as merely an outlet for mostly his own work, but as this excellent sampler from 1986 shows, that's not entirely true. Sure, Nelson was definitely Cocteau's main star by design, through which he performed in a handful of different projects and under different names, but he added other talents too, who were able to fit his own gloriously quirky vision. And to discount those acts, some of whom I've just learned about through this comp today, would appear to be quite a faulty exercise.
Case in point, you really cannot sleep on the trio of Fiat Lux here, which was not just some charity case that Bill signed because one of its members was his own brother, Ian. With the hazy, dub-infused, downtempo, and synth-rockified "This Illness," as well as the poppier, more psychedelic, and perhaps even proto-trancy at certain points, "Feels Like Winter Again," these guys are able to show just how uniquely artsy-and-prog-poppy brilliant they really are, with these two dreamy pieces specifically serving as quite possibly this release's own top offerings.
And although Cocteau was still definitely mostly known for Bill's own work, if it was ever known for one other thing, it was for launching the career of one-hit wonder new wavers A Flock of Seagulls too, who really should've ended up being recognized for far more than just "I Ran (So Far Away)." As the story goes, AFoS released their debut single on Cocteau with "(It's Not Me) Talking," and with it managing to reach #45 on the UK Indie singles chart, they then signed to Jive, and then released "I Ran" the following year. But between both that debut and their massive, lone hit also came the Bill Nelson-produced "Telecommunication" on Jive as well, which made for a super catchy bit of electro-power pop, with a repeatedly hammered chorus that acted as a chipper jingle for the constant advancement of the concept of telecommunication itself. Picture an industry lobby TV ad from the early 80s that features a series of shots of all different makes and models of telephones and the people who talk into them, and you can imagine what the audio accompanying that thing would sound like, with this future-is-now chorus right here: 🎶Te-le-com-mu-ni-ca-tion, te-le-com-mu-ni-ca-tion!🎶
So, in short, if you don't know who Bill Nelson is, he has some fantastic tracks on here, like his own beautiful, film scorish "Portrait of Jan with Moon & Stars" and his experimental band, Orchestra Arcana's "Christ via Wires" too, which incorporates some Gregorian chant. But if you were already under the impression that his Cocteau label was mostly just a means to release more of his own artistic indulgences, this comp should slightly disabuse you of that notion; there's a re-released version of this album from 1989 that's on CD, in which Nelson takes up at least half of its tracklist, but it's not the case with this original 1986 release of it on vinyl—this is a true-blue v/a comp label sampler instead, and it's worth every penny that I spent on it, having had it shipped to me all the way from the Netherlands 😊.
Highlights:
Man Jumping - "Belle Dux on the Beach"
Orchestra Arcana - "Christ via Wires"
Bill Nelson - "Portrait of Jan with Moon & Stars"
Fiat Lux - "This Illness"
Revox Cadets - "Highway 2000"
A Flock of Seagulls - "Telecommunication"
Fiat Lux - "Feels Like Winter Again"
Bill Nelson - "West Deep"
Don't you feel like you are always screaming inside? Personally, I always feel like I'm yelling, my whole being, my core, is always burning away. We are always in this state of constant fall, of constant explosion, and when we look at the world around us, it can be so bedazzling how people can move with such serenity, such evenness, to make sense of words. We try to move with steadiness, but below all the external calm, all the clockwork movements, there is always this chaos inside, a chaos that could be so quiet or so imperceptible, but it is always burning inside of us, always at full blast. This, my friend, is exactly the kind of feeling that 'Laughing Stock' depicts—all the hidden chaos beneath the steady movement of life.
While Spirit of Eden was an exercise in the quiet apparitions of vigor, 'Laughing Stock' is an exercise in gloom and sorrow. These two albums combined form the two sides of a whole. Talk Talk's music can create such chaos while still being so unbelievably discreet. If someone recommends you these albums for a quiet, rainy day, don't trust them, don't trust them and run away! There is a disarray hidden between its apparent composure, and it's just so amazing, so amazing. There is so much hidden within those apparently soothing melodies and lulling rhythms. Very few times will you hear noise take over the lead of a song, but between all the sounds and guest instruments, this whole piece creates such wild dynamics that at times might feel like momentary wildfires in the most serene of forests. Not because the pond has no current at its surface, does it mean it doesn't contain a whole life of fishes swimming wildly below it. The most fervent moments of the music can be incredibly shattering force and, when it soothes out, you feel pure repose in the center of chaos, as if finding a steady rock in the middle of a turbulent river. With such disarray hidden between the little details and harmonies, you feel like you can hear ants yell to the sky, and what do you know, humans in the whole scale of the cosmos, are not that different from ants.
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