The word “very,” rarely an adjective, as in “it happened in this very house,” or “this is very Terry Edwards,” but commonly worthlessly used as an adverb, as in “it’s very cold today,” or “this is the very best of Terry Edwards.” While the album simplifies it to the ambiguous “Very Terry Edwards,” it’s BandCamp page suggests, “The Very Best of Very Terry Edwards,” which though it’s exactly what it is, it’s also one adverb enough for the most lenient of proof-reader’s red line. Yet, if the usage of very is erm, very worthless, it is the only thing on this album which is.
The multi-instrumentalist, best known for trumpet, flugelhorn, saxophone, guitar and keys, marked his sixtieth birthday last September releasing this three-CD best-of box set, and while I should’ve mentioned it last month, between putting batteries in toys and stuffing myself with pigs in blankets things got tardy. Right now, though, I can think of no better outstanding project to kick off our music reviews for 2021. Reason only partly because it ticks all my personal favourite genre boxes, more so because of the range of said genres is far greater than run-of-the-mill best of compilations.
We need to assess Terry’s biography to understand the reason for this variety. Funky punk and second-gen ska most obvious, as from 1980 he was a founding member of Two-Tone signed band The Higsons, after graduating with a degree in music. But around that time Terry also produced and played on the Yeah Jazz’s debut album, of whom, despite the name, were particularly folk-rock.
From here the vastness of Terry’s repertoire blossoms, as session musician for a huge range of acts, from Madness to Nick Cave, PJ Harvey and The Jesus and Mary Chain to, particularly notable, The Blockheads. As well as his solo material, with his band The Scapegoats and a stint with dark punk-blues outfit Gallon Drunk, it’s understandable collating this in one reminiscent anthology is a mammoth task and a melting pot. Which is just what you’re getting for your money, a very, as the grammatical disorderly title suggests, worthy melting pot.
“When the earliest recording here was made the 18-year-old me couldn’t comprehend being 60,” Terry explained, “yet here I am presenting a triple album containing 60 titles recorded between 1979 and 2020, through thick and thin.” Therefore, it must be more tongue-in-cheek than I’d suspect Roger Daltrey’s notion now of My Generation’s lyrics that for the opening track he opted for The Higsons’ “We Will Never Grow Old.”
“You’d expect an overview of my career to have some odd bedfellows and more than its share of quirks and foibles,” he continued, “but it’s been compiled to flow musically rather than have a chronological narrative.”
That said, the first four tunes from his original band follow, with all their fervent rawness. Terry covered his tracks though, “I immediately break my own rules by starting with The Higsons’ earliest release and debut single, but redeem myself by following up with the most recent recordings; two ballads recorded with Paul Cuddeford (Ian Hunter, Holy Holy) in February 2020. There is more method than madness; groups of songs which follow a theme or genre are found together regardless of when they’re from.” Indeed, we’re then treated to three tunes in a matured, mellowing jazz and blues, the latter of which with the vocally perfected Erika Stucky.
Then we’re into rock with The Wolfhounds, and a guitar-twanging Christmas blues song with Robyn Hitchcock, plodding jazz with Knife & Fork, post-punk Big Joan, avant-garde jazz with Spleen and rockabilly styled New York New York. While mostly jazz-related, this first disc graduates through genres with finesse.
Terry is like Georgie Fame with a Mohican, but whatever avenue is explored, you can guarantee quality. The second CD starts with a bang, upbeat mod-jazz with The Scapegoats. There’re more known covers here, sublimely executed Herbie Hancock’s Watermelon Man, a superb solo rendition of The Cure’s Friday I’m in Love, as if Robert Smith wore a Fred Perry, and a hard-rock electronica version of Johnny Kidd’s Shakin all Over with the haunting vocals of Lisa Ronson. Even find an orchestral film score, and a piano solo of the knees-up capital’s favourite, May It’s Because I’m a Londoner.
Yet if both the quantity and quality on offer here is so vast to make me waffle, it doesn’t waiver for the final disc, rather it’s my favourite. A BBC session outtake of a jazzy Voodoo Chile, with altered title to “Child.” Dunno, can’t be a typo, the dedication to attributing to Hendrix’s masterpiece is no easy feat, lest it be known Terry manages it with awesomeness dexterity, with a saxophone!
If the last CD continues with on a jazz tip for two tunes, we’re transported to ska via John Holt’s Ali Baba by Lee Thompson’s Ska Orchestra and other sundry members of Madness, and Totally Wired by Terry’s “Ska All Stars,” and more ska-jazz with Rhoda Dakar. Post-punk follows, featuring The Nightingales with Vic Goddard, Snuff, Glen Matlock and Gallon Drunk. Perhaps my favourite parts being the shouty cover of The Human Leagues’ “Don’t you Want Me Baby,” by Serious Drinking, and the general dilapidation of seriousness with new wave tunes mirroring the unsubtlety of Ian Dury & The Blockheads.
Here’s a jam-packed box-set brimming with variety which flows suitably and makes a definitive portfolio of a particularly prolific and proficient musician. For many it’ll hold fond memories, for younger, who think Kate Nash created the cockney chat-rap, or jazz wasn’t the same until Jamie Cullum came along, it’s a history lesson they’ll never forget!
This 60th birthday, 60 track-strong celebration spans over four decades. A triple CD clamshell boxset with 24-page booklet, but more importantly they say, “Very Terry Edwards is a birthday present to himself as much as anything else,” giving it the impression you’re on a personal journey, like a child sitting on their grandpa’s lap while he recites memoirs, blinking exciting ones!
How will the Wharf Theatre follow the huge success of Jesus Christ Superstar? I can tell you this much; it will be Glorious! How do I know? Press release, see, the production is called Glorious, and it’s the true story of Florence Foster Jenkins, dubbed “The Worst Singer in the World!” A play by Peter … Continue reading “The Next Wharf Theatre Production Will Be Glorious!”
Okay, given the news of the sad passing of Sir Clive Sinclair last week, guaranteed you’ll see lots of photos of him in his scarf, peddling to charge his C5, the innovative electric car of the future. Like few of his inventions, mini televisions included, the C5 flopped, simply because it was way ahead of … Continue reading “Remembering Sinclair’s ZX Spectrum”
In six weeks, the historic Devizes Town Band will be performing at their first indoor concert for two years! On Sunday 31st October, Devizes Town Band are thrilled to be bringing to you a very special ‘Poppy’ Concert supporting the Royal British Legion; “Pumpkins and Poppies” An afternoon of beautiful and entertaining music, to celebrate … Continue reading “Pumpkins & Poppies with Devizes Town Band”
“We want to be there for every seriously ill child that needs us,” say Julia’s House, “but to care for families in your community, we need your support. As part of our Together We Care Appeal, we’re creating a giant bear sculpture and aiming to cover it with the faces of everyone who cares about … Continue reading “We Care Bear Selfie Sculpture”
A truly wonderful night was had at Trowbridge Town Hall with soul-reggae artist Onika Venus and band…. Agreed, you may have to sift through wildly nerdy debates over Kirkby and Buscema’s cross-hatching, or season 12 of the Fourth Dr Who against season 13, but one great thing about socialising in the comics industry, unlike the … Continue reading “Onika Venus Smooths Trowbridge Town Hall”
Up Around The Blues Club By Andy Fawthrop Well, it’d been a long old time but finally – finally! – we were back after 18 months to Long Street Blues Club, hosted by The Con Club. The original artists for this gig had been the USA-based Billy Walton Band but, once one or two other … Continue reading “REVIEW – Creedence Clearwater Review – Long Street Blues Club – Saturday 18th September 2021”
You’ve Got To Laugh by Andy Fawthrop It really feels as if the old times are back with the very welcome return of Strakers’ Comedy Night at the Corn Exchange. A fairly packed audience of about 200, with long early queues at the bar, settled down for something we all needed – a great night … Continue reading “REVIEW: Strakers’ Devizes Comedy – Corn Exchange – Friday 17th September 2021”
Unique exhibition to open at Wiltshire Museum Featured Image: The Westbury White Horse © Towner Eastbourne Finally opening at Wiltshire Museum on 25 September 2021 is Eric Ravilious: Downland Man, something we previewed on Devizine in October 2019, but, sadly, lockdown prevented. This major exhibition explores for the first time the celebrated artist’s lifelong fascination … Continue reading “Eric Ravilious: Downland Man“
So, you’re planning to go out-out, the decision rests on music or a night of comedy. An unnecessary dilemma, no need for a crystal ball, tarot cards or Paul the psychic octopus, you can do both in the land of chips n ham. In fact, if you happen to own a psychic octopus, this will … Continue reading “Real Cheesemakers go Head-to-Head with Professor Elemental in Chippenham”
As spacey as Spaceman 3, I get a whopping chunk of cleansed retro Madchester with the opening of Holland Park, the new album from one of ‘Britain’s best kept secrets’, Londoners, Spearmint. The album drops tomorrow, September 17th, on WIAIWYA Records, and is produced by acclaimed journalist and musician Rhodri Marsden, known afor playing in … Continue reading “Spearmint’s Holland Park”