Very Terry Edwards
I’m not sure where to start with this one, or should I say these ones, having received not one, but two Terry Edwards compilations weighing in at a mighty 80 tracks in total. Not only quite a phenomenal collection of tunes, but also a who’s who of just about every musical style you could list or comprehend.
The first, Very Terry Edwards is a career spanning collection of tracks celebrating the 60th birthday year of this most bountifully talented multi-instrumentalist, with a track for every year of his life. This is an extraordinarily effusive body of work, even more extraordinary when you see the list of some of the bands he has recorded with that don’t appear across this 3 disc set, stand up Siouxsie, Julian Cope, Madness, Tindersticks, Hot Chip and PJ Harvey. When you can leave that list off and still have a stunningly complex and varied compilation packed full of big names, you know you’re onto something pretty special
Judiciously compiled
All the songs have been selected by Edwards himself, this isn’t a lazily selected jumbled together “best of”, it is a lovingly and judiciously compiled set of wide-ranging compositions.
Although the album is not in chronological order, the first four cuts are from Edwards first band the post-punk funksters The Higsons, including their “hit” single the magnificent I Don’t Want to Live With Monkeys. The compilation brings things right up to date with two 2020 recordings with Paul Cuddeford immediately following on immediately from the four tracks from the Higsons.
The remaining 54 tracks are a veritable smörgåsbord. I could write at length about nearly every song, but I’d be here until Christmas, and I don’t want to disappoint as, according to the legendary Robyn Hitchcock on the track featuring on disc one, There Ain’t No Santa Claus on the Evening Stage. The shadowy slide guitars and harmonica just one of the early and many highlights of this triple treat.
Gallon Drunk
Suffice to say, there are plenty of tracks on here to delight and inspire, such is the draw of Edwards as an accomplished session musician, but also as a band member, for the likes of the magnificent Gallon Drunk. The dark bluesy jazz punk rockers have two tracks from The Rotten Mile album featured on disc three, the title track, and the instrumental, The Shadow of Your Smile.
Through the three discs, Edwards keeps on giving. I made a point of not reading the track listing until after I’d listened through for the first time, so the element of surprise was there. Time after time, the corners of my mouth curled up in a knowing smile. The laid-back ska of the Bodysnatchers Rhoda Dakar on Comfort Zone a case in point. This track is amongst several ska-infused tracks on the album, including the unique brass take on The Fall’s Totally Wired from Terry Edward’s’ Ska Allstars – more about this later.
EXCLUSIVE VIDEO
Plenty of Terry Edwards originals here as well as contributions to other bands. The instrumental Boots Off!! From his Scapegoats project is a particular favourite. A real energetic workout replete with some outstandingly addictive sax playing, elegant Hammond organ sounds, a wonderfully melodious bassline and exquisite riffing. So, I’m delighted to have been offered an exclusive video of the track to go along with this review:
And as for cover versions, there are a plethora of distinctive takes on some classic tunes. From the early days and affiliations with The Higsons, there is Serious Drinking’s punked up version of The Human Leagues Don’t You Want Me which ventures into Love Action, and more recently Lisa Ronson’s sleazed up edgy synth-rock take on Shakin’ All Over including striking trumpet contribution from Edwards.
Sure there are a couple of tracks that I skipped over, but Edwards has left his mark on countless records over the years, and on such a scale and covering such a wide range of styles, not every track here is going to be to everyone’s taste, but I defy you to listen and not be taken aback by the virtuosity and talent on show by this unique individual. Despite the skipping of tracks, and realising what has NOT been included, I’m sure this compilation could have stretched to another couple of discs without it feeling over-long.
Indie to classical to punk
Across the discs, Edwards has grouped together songs that fit a certain style but his ability to turn his hand to anything allows him to contribute sax to Glasgow’s Franz Ferdinand Feel the Love Go from their Always Ascending album at one moment then a few tracks later full on classical contributions like the live Finlandia from the Havering Youth Orchestra, then on the next disc, trumpets on mid 80’s punks Snuff and their frantic Choc’s Away single.
Some other edited highlights include the free-form jazz sax on the glitchy stop start post punk of Spleen’s Vulpine, the angry punk fury of Terry Edwards and the Scapegoats Margaret Thatcher We Still Hate You clocking in at just over minute, the big band swing of New York New York and the track Roger Wilson Said. Just skim over the track listing and there are so many more – big names like Glen Matlock and the Blockheads, post punk and indie – The Wolfhounds, Vic Goddard with The Nightingales, Department S….a compilation that keeps giving.
And that is only half of the story.
Stop Trying to Sell Me Back My Past (Vol 1)
The other part of the package is another Terry Edwards compilation that is being released as part of the delayed Record Store Day on the 29th of August. Stop Trying to Sell Me Back my Past (Vol 1) is a triumph. I said to bear with me earlier on the cover versions front. Here is where I expand on that. This compilation brings together all of the four track EPs Edwards recorded in the days after The Higson’s, many of these not available for years and in the case of “Terry Edwards Remembers The Cure”, never seeing the light of day.
Featured here are the maestro’s takes on tracks by The Jesus & Mary Chain, The Fall, Miles Davis, The Cure, and a trio of punk tracks in The Clash’s Version City, Bodies from The Sex Pistols and The Damned’s New Rose.
Often when you hear a cover version, you wonder why the band even bothered, keeping their version true to the original. Not so with Terry Edwards. These are very much his own take on these tracks. I think re-imagined is the word used in these modern times.
I’ll admit to never having heard these before now, but boy am I going to make up for that. I’m sure these cover versions won’t be for everyone. As I was listening, I heard a shout from another room, “what the f**k is that you are listening to”. Heathen.
The Jesus and Mary Chain
As a lover of the dour brothers from East Kilbride, I pressed play with trepidation. I need not have worried. As the “feedback” squall of Never Understand kicks in with saxophones replacing guitars (yes you read correctly) leads the way, the melody is provided by trumpets in this celebratory version of the Mary Chain as you’ve never heard them before. Everything is Alright When You’re Down continues in the same vein, the more familiar sound of bass and drums backing the sax feedback and the trumpet melody. Glorious. By the time The Hardest Walk and Break Me Down are done, I want to hear the whole back catalogue done in this way….I’m sure there will be some purists squirming right now.
I mentioned Totally Wired earlier. You haven’t lived until you have heard a ska version of The Fall classic. I didn’t know I had to have this track in my collection until I heard it. With Bingomaster’s Breakdown, The Dice Man and Container Drivers also given the ska treatment, I am hearing a whole new side to the tunes of Mark E Smith.
So, we’ve had sax feedback with trumpet melody for the Mary Chain, ska for The Fall. Just how is Miles Davis treated. At speed is the answer. Eighty-One, Four and Seven Steps to Heaven all romp along at pace with an eccentric brass section squealing and squalling over speed metal styled guitars. I haven’t been this entertained by a brass band since watching La Brassa Banda perform some punk classics alongside Captain Sensible at a Scotland Calling aftershow.
Punk Classics
Talking of punk classics…Version City is funked up, while New Rose is given the string quartet treatment – I love this just as much as than the original. It seems to be made for this moment. Then there is Bodies. I can only say, you need to hear it to believe it. And I mean that in a good way.
The last few tracks on the album include the long-lost Cure covers. In Between Days is a triumph for me amongst these three tracks its muffled trumpet melody topping off a triumphant brass section in a tune full of sunshine and positivity. Actually, Killing an Arab is pretty damned special too, it is almost unrecognisable as it is given a reggae dub makeover giving it a whole new lease of life.
If you thought Charlie was the only member of The Higsons to go on and do something after the band split, think again. Terry Edwards is a unique and indominatable talent, seek this out at the earliest opportunity.