BARRACUDA BLUE

I really like this album; by the way, I have a non-original CD with a cover that has no band name or title, a mystery... you happened to come across it like a match made in heaven.

Many years ago, having given up on vinyl pressings, which were too expensive, I got my first CD pressing, a Japanese one, immediately realizing that it had been mastered from vinyl, and I kept it. If you aren't familiar with the only album by the Samurai, which follows this one and features the same line-up, I highly recommend it.

I don't know him, is he a namesake?

Yes, a bit more upbeat and with shorter tracks, but at a high level. All the style that Lawson will later bring to Greenslade.

I've always thought of this album as a hypothetical version of Pink Floyd in '79 if Barrett hadn't lost his mind! A masterpiece of disco. Personally, I prefer Pink Flag, though.

THE BRAIN, fuck

I like all three of them, Pink Flag is from '77 and reflects the punk scene they belonged to anyway. I think exactly like you, I've seen Barrett in every track of the album and in the lyrics for more than 30 years... An evening of funny in a metropolis of your dream...

I don’t hear a damn thing of the Barrett Floyd, rather I sense the Gilmour Floyd in the "bridge" of "A Mutual Friend." In any case, the Wire are among my favorites, and when it comes to the late seventies trilogy, I really couldn't choose a better chapter; I see it more as a whole, a sort of bible of the evolution of "rock" music, its divine comedy, hell, purgatory, and paradise, a bridge between yesterday, today, and tomorrow.

imaginative and interesting hypothesis, although for me the Wire are those who in semiotics are defined as "primitives," those who are defined only by themselves. Wandering in these territories, I always think of how among the first punk heroes: 1 - John Lydon idolized people like Kevin Coyne and Peter Hammill. 2 - The Damned would have wanted Syd Barrett to produce their "Music for Pleasure" (they had to settle for Nick Mason, and it wasn't the same thing, what do you say?...)

Music for Pleasure was perhaps a hurriedly made record, and Mason couldn't do much with it. Early punks were divided between Bowie-Bolan addicts and people with a more substantial listening background: just think of the tracklist of Through the Looking Glass, that beautiful cover album that the Banshees released later in the '80s, which speaks volumes in this regard. Additionally, we shouldn't underestimate Mike Thorne's production on the Wire albums and the first Colin Newman, which is ideally a continuation of 154. At the time, he was signed with Harvest and produced quite different stuff like Treason, the last album by Gryphon, a great record. After the Wire era, he continued producing great material, Non Stop Erotic Cabaret above all.