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6 of 6 people found the following review helpful
4.0 out of 5 stars The final instalment,
This review is from: New York in The '70s (MP3 Download)
Another year and another concept album from Luke Haines. Including the North Sea Scrolls collaborative effort, that's four within the past three years. A mythical re-imagining of the New York Rock 'n' Roll scene 1972-1979, lyrically this album is reminiscent of his '9½ Psychedelic Meditations on British Wrestling' album - mostly favourable and sympathetic towards the many people that he sings about but with no shortage of his usual wry observations and razor sharp one liners. Musically, Haines broadens his palette and the synths & keyboards found on his early solo work make a welcome return. Loads of name-checks, including Lou Reed (so good he names him twice and also mimics 1975's 'Lou Reed Live' for the album's cover), Suicide's Alan Vegas, The New York Dolls, Johnny Thunders, CBGB, Max's Kansas City, writer and sometime musician Jim Carroll and even Dorset's very own Cerne Abbas Man. This is the final instalment of Haines' psychedelic concept trilogy and it's the second best of the three, just behind the wrestling one. It'll be interesting to hear what he does next.
1 of 1 people found the following review helpful
4.0 out of 5 stars Another enjoyable album from the wonderful and fertile mind of Mr Haines,
Luke Haines latest album, "New York In The '70s", was released on Cherry Red on Monday 26 May 2014, and is the final part of his three part psychedelic trilogy.
The trilogy started with 2011's "9 1/2 Psychedelic Meditations on British Wrestling of the 1970s and Early '80s", continued with 2013's "Rock And Roll Animals", and now here's "New York In The '70s".
If you enjoyed either of the other two albums (my personal favourite being "9 1/2 Psychedelic Meditations on British Wrestling of the 1970s and Early '80s") then it's fair to say you will enjoy this one too.
As always, everything you hear is filtered through Luke's inimitable and original perspective, so this is the New York rock n roll scene (1972-1979) via Surrey, Southern UK. That said, musically at least, Luke manages to uncannily evoke the sound of Suicide, along with Lou Reed and the Velvets, on some tracks, which gives his homage an added pleasure, in addition the listener enjoys references to the New York Dolls, Jim Carroll, Stiv Bators, Alan Ginsberg, Television, and...er...Chico, a messenger bird, and a gigantic mythical 180 foot naked man from a Dorset chalk hill. All of which adds up to another enjoyable album from the wonderful and fertile mind of Mr Haines.
5.0 out of 5 stars everybody's turning tricks,
this album took a few listens to really get under my skin but its well and truly imbedded itself in my brain. Up there with the best of Luke Haines' work. A short album but once you've had to listen to every song again as soon as its finished it lasts twice as long! I recommend watching Lukes brief introductions to each song on youtube just to give a bit of background. I have enjoyed all 3 of the concept albums (and the north sea scrolls) and can't wait to see where he goes from here
5.0 out of 5 stars New York through the eyes of the village green.,
Great CD. Captures that seminal moment in music history perfectly. Very authentic with the added bonus of a gently sardonic English perspective sung in a quaint English vocal style. He knows his subject matter. Unique and a good listen which bears repeated listens. Any fan of Suicide, Lou Reed or New York Dolls should love this.
5.0 out of 5 stars Five Stars,
4.0 out of 5 stars Another Mythical Slice Of Life (Courtesy Of Mr Haines),
Not only is Luke Haines one of the most prolific song-writers (and album makers) of modern times, but the man is forever taking us on weird, wonderful and darkly comic trips into his psyche and imagination – having recently 'rewritten’ English history (North Sea Scrolls), as well as weaving magical tales around the likes of 'local heroes’ (British wrestlers, Tony Allen, Suzy Lamplugh, Sid James, Nick Lowe, John Stonehouse, Gazza, Enoch Powell, Peter Hammill, Jimmy Pursey, Gomez, etc) and ‘not so local’ heroes (Klaus Kinski, Yasser Arafat, Gene Vincent, etc). Here, Haines has created an homage – with, in typical fashion, some ambiguity around how far the man’s tongue is embedded in his cheek – to the New York music scene of the 1970s, taking in (of course) ‘sex and drugs and rock n’ roll’, and the likes of The Ramones, New York Dolls, Television, Debbie Harry, Richard Hell and Suicide, as well as the recently demised (and great) Lou Reed – indeed Haines’ own 'painting’ of Reed adorns the cover in splendid fashion (although opening the gatefold to reveal a photo of a bearded Haines 'doing a Reed’ should really carry a government health warning – only kidding, Luke!).
Actually, although once again Haines has only graced us with just over 30 minutes of music (12 songs) I think this is his finest solo effort in a while – for me, musically, surpassing 21st Century Man, Scrolls and Rock n’ Roll Animals – and I don’t think that’s just because his subject matter formed such an important part of my teenage years. As ever, the man brings us fleeting glimpses of the sublime melodies of 'Auteur ballad-era Haines’ (the likes of Junk Shop Clothes and Brainchild) in the excellent Alan Vega Says (it’s nice to see the TV Personalities getting namedropped, but I can’t help thinking of how, as support act, Suicide repeatedly got bottled off stage during the 1978 Clash tour), NY in The ‘70s, Bill’s Bunker (about William Burroughs), New York City Breakdown (a superbly ironic take on the US vs UK ‘punk rivalry’, which is a running theme on the album), Cerne Abbas Man (another hilarious take on 'the scene’ and featuring a central character who might just be a mythical figure – or maybe Malcolm McLaren?) and album closer, NY Stars. Elsewhere, rhythmical dexterity is to the fore on the likes of Jim Carroll (re. the NY poet and musician), Tricks N Kicks N Drugs, Dolls Forever and Lou Reed Lou Reed, with Haines’ satirical lyrics as cutting as ever.
For the album, 'loner’ Haines does everything – writes, produces and plays all instruments. This is, no doubt, the man’s preference, thus being able to control everything. I have to say, though, that I (for one) would be very keen to hear the man as part of a greater dynamic whole – the intoxicating sound he created with The Auteurs was second to none and I still hark back to it (in contrast to the 'electronic’ songs here, Drone City and UK Punk, which don’t really cut it for me). Nevertheless, a very worthy album with 80% 5 star songs.
5.0 out of 5 stars I recommend!!,
I recommend!!!! Amazing album, diferente from everything I've already listened with humor and good songs!!!! New York on the 70's has Lou Reed!!! Of course, everyone is gay or bisexual and the rest you know about Big Apple. Nice resume of those amazing days!!!! Listen!!!!
1 of 3 people found the following review helpful
5.0 out of 5 stars Masterpiece number 3?,
I had the privilege of seeing Luke Haines play live back in February and it was noticeable that he seemed very at ease with the world and had a swagger like the Cerne Abbas man! I remember thinking to myself, “I bet his upcoming album will be a corker!”. And I was right!
It is widely acknowledged by those familiar with his that New Wave by The Auteurs and Baader Meinhoff are two sheer masterpieces. His work since has ranged from the very good to, at times, not so good.
In my humble opinion, New York in the 70s is the best thing he has done since New Wave and Baader Meinhoff. There are certain tunes on this record that are as good as anything he has ever written, New York City Breakdown and Cerne Abbas Man particularly stand out. The album as a whole, however, unlike some of his work, hangs together as a splendid record. It is an absolute gem of an album. Really catchy tunes peppered with Mr Haines’ razor-sharp humour and it paints a wonderful picture of decadent NY in the 70s.
This really deserves to earn the lug-holes of a far greater audience.
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