Monday, February 29, 2016

Anthony Moore - 1978 - Flying Doesn`t Help

Anthony Moore 
Flying Doesn`t Help

01. Judy Get Down
02. Ready Ready
03. Useless Moments
04. Lucia
05. Caught Being In Love
06. Time Less Strange
07. Girl It's Your Time
08. War
09. Just Us
10. Twilight (Uxbridge Road)

Recorded & mixed at The Workhouse, Old Kent Road, London, England.

Peter Blegvad Composer
Sam Harley Bass
Charles Hayworth Drums
Matt Irving Bass
Anthony Moore Composer, Electronics, Guitar, Keyboards, Mixing, Primary Artist, Producer, Vocals, Vocals (Background)
Joan Manuel Serrat Composer
Bob Shilling Drums
Chris Slade Drums
E. Smith Composer
Robert Vogel Drums

There are three different versions of the cover art to this album - Red, Yellow and Silver lettering over a silver background. Records are also found with black ink over red or yellow labels.

While much of Anthony Moore's earlier work is pleasant yet dispensable, 1979's Flying Doesn't Help falls into a different class altogether. Elaborate yet accessible, the effects of More's (now minus one "o") masterwork can be felt on a number of levels. The opening track, a hooker-with-a-heart-of-gold story called "Judy Get Down," is "Lady Madonna" for a new generation, both in its playful use of double entendres and in its unfailing Beatlesque melodicism. The songs that follow run the gamut from mordant to mischievous to desolate. More manufactures a musical landscape that is starkly beautiful, emotionally charged, and a tad dangerous, not unlike the best of John Cale's solo material. [In 2012 the Floating World label paired Flying Doesn't Help with an alternate version of Moore's 1981 follow-up, World Service, in a two-disc set.]

Anthony Moore is one of those musicians from the Henry Cow/Slapp Happy environment, but his "Flying Doesn't Help" is a much less complicated or top-heavy affair than the releases of the aforementioned bands. In my opinion it might stand next to Lou Reed's "Berlin", - and i mean this not only concerning the way the songs and the whole album is structured but also concerning its quality.
I recently read on the Mojo Website that John Peel was a great fan of this in 1979 and it is easy to understand why. Moore's voice really is more like John Cale's, the songs are Lou Reed fronting Ultravox, but the point is: There are great songs on this LP, songs that might have become New Wave classics like "Judy Get Down" or "Caught Being In Love". Don't get me wrong. No chart success, this could only happen in another reality, but some sort of classical album would be the correct fate for this here. Try and find it.

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