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Although he's not made a great record since the '80s,  Felt's Lawrence is one of those music industry figures that it's easy to get obsessed about. A complete eccentric in a world of stodge, over the last ten years he's followed his muse into cheesy electro-pop with Go Kart Mozart (Bruce Springsteen lyric  - true). 'Mozart's Mini Mart' is another collection of oddball songs that could only come from his warped mind. Catchy too. 


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REVIEWS

Mozart's Mini-Mart by Go-Kart Mozart
1 review. Add your own review.
7 people love this record. Be the 8th!
4/10 Clinton Staff review, 08 March 2018

Poor Lawrence. At the age of 56 he still thinks that he should be a pop star. His dream is to meet Kate Moss. He lives in a bewilderingly strange world of complete delusion which ensures that he is loved by the chattering Twitterati and middle-aged blogosphere because he's eccentric and he's a story.  Yet I feel that there's such a sadness in his tale that I almost feel uncomfortable listening to this latest record of his latest pet project Go Kart Mozart. 

We shouldn't feel too sorry for him though because if this record was made by anyone else then it would be at best laughed at, at worst derided as unfathomable electro-pop novelty. That Lawrence hasn't made a note of music worth it's name since 1989 seems to get swept under the carpet because it provides good copy that a man who made such startling records in the 1980s has chucked away his talent in such a convincing manner. It's becoming increasingly obvious that Maurice Deebank was the real genius of the Felt story and that Lawrence though, an arch conceptualist and lyricist, was only at his best within that partnership. 

Mozart's Mini Mart doesn't differ too much from his previous work under this moniker. It's full of cheesy keyboards, tinny drum machines and 70's radio pop inspired melodies that reek of the years of the Glitter Band, Jonathan King's novelty hits et al. There's not much here you'll want to play again, perhaps 'Crokadile Rokstarz' is the pick of the bunch where an interesting melody and some fizzy guitars break out of the bubblegum. Elsewhere it's hyper electro pop that has consumed far too many e-numbers.

There's something horribly unsavoury about it and that's even before we get to 'Knickers on the Line by 3 Chord Fraud'. Lawrence doesn't have to relight Felt to make good music. My fear is that it's easier for him to slop out this nonsense and we can all point at him and bask in his eccentricities rather than be truly in awe of his talent.  


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