Thursday 16 January 2014
127 Brotherhood - New Order
Purchased : 14 July 1989
Tracks : Paradise / Weirdo / As It Is When It Was / Broken Promise / Way Of Life / Bizarre Love Triangle / All Day Long / Angel Dust / Every Little Counts
Perseverance brings its own reward and my next visit to Soundsearch yielded up this one for £4.00, another case of catching up on a 1986 release that I couldn't afford at the time.
New Order's fourth album was recorded at a difficult time for the band. Their previous LP the excellent "Low Life" had sold poorly and failed to yield any Top 40 singles ( though the standalone single "Shell Shock" had scraped into the Top 30 in April 1986 ). Local bragging rights and leadership of the indie scene had passed to The Smiths; there was little trace of their influence on C86. The money they were earning was being channelled into an underperforming night club. On top of all that their gigs were acquiring a reputation for violence.
Some of that uncertainty seems to leak into the opener "Paradise" an obsessive love song to someone called Jolene alternating between threat and mourning. For most of the track Sumner provides two vocals, one low and deadpan, the other keening and desperate as in the chorus where Sumner one howls "I want you I need you" and Sumner two growls a sardonic "Sha la la la la". Stephen Morris leads the attack in the music with some of his most ferocious rock drumming while conversely Hook supplies perhaps the most melancholic of all his basslines; the little solo he plays is ineffably sad. It's probably the best opening track of all their LPs.
Hook is prominent again on the following track "Weirdo" which bears a strong resemblance to his successor band Monaco's What Do You Want From Me . Beginning with the shortest of intros it 's a brash and noisy guitar thrash and again has a twin vocal from Sumner ( which isn't as effective here ) . The lyric is pretty meaningless and the whole track is a bit hollow.
"As It Is When It Was" seems to be about not getting the response you were looking for on meeting up with a childhood friend. It starts with an untypical pretty acoustic passage before Hook and Morris kick in and give the song some bite. The sound builds to a cacophony for the last verse which draws your attention to the fact that the band's production is a bit murky throughout the LP.
It has been speculated that "Broken Promise" is addressed to Ian Curtis and it's certainly possible to make that construction from the lyric with "There's a shadow of another hanging over me" and frequent references to the afterlife. The intro's noticeable similarity to Isolation is another clue though thereafter it's a close cousin to the previous LP's "Sunrise" in its mood of rising desperation.
"Way Of Life " rounds off side one with a song of angry rejection by someone who knows he's been lied to. Despite this , after the pounding intro which threatens another Atrocity Exhibition the mood of the track is upbeat with the most melodic chorus on the album and some pretty acoustic flourishes in the mix.
"Bizarre Love Triangle " I've already covered in the "Substance" post.
"All Day Long" is something of a departure for the band in confronting a social issue straight on, the abuse and murder of a child known to the narrator. Whether Sumner based it on a real personal acquaintance isn't known. The narrative is over and done with in the first couple of minutes making way for an extended instrumental passage of great beauty and drama with an extended bass solo from Hook and a number of Kraftwerk synth lines. It's probably their most under-rated song.
"Angel Dust " just begs a drug interpretation with lyrics like "You came here to steal my freedom ". It repeats the pattern of the previous track with the last words coming at the midway point and then a long dark instrumental passage with strings, Arabic wailing and a
singing guitar solo over the twitching synth pulse.
That just leaves the curious "Every Little Counts " which really does sound like they were messing around with a pastiche of Walk On The Wild Side - Sumner breaking down into Elvis -style giggles while intoning the nonsense lyric of the first verse - before deciding it stood up as a song. After an unexpected false ending the synth starts playing a melody not too far removed from Decades before a final piece of japery ( which probably doesn't work so well on cassette or CD ) - the sound of a stylus skidding across the grooves - brings it to an abrupt halt.
"Brotherhood" is the work of a band who, having made a great LP which didn't sell, were not quite sure how to improve on it. It would take an outside producer to help them out of the hole and restore their standing. That said it's still a pretty good album.
Sunday 12 January 2014
126 The Summer Collection - Donna Summer
Purchased : 7 July 1989
Tracks : She Works Hard For The Money / Bad Girls / On The Radio / Stop Look And Listen / Last Dance / MacArthur Park / Heaven Knows / Unconditional Love / I Love You / No More Tears ( Enough Is Enough )
This was purchased from Soundsearch on cassette for £2.99 or thereabouts. I think it was a case of my having gone in there, not finding anything exciting but not wanting to leave empty-handed.
I was a big fan of Donna's in the late seventies from "I Feel Love " which sounded like nothing I'd ever heard before but that and a number of other big hits from that period are absent here. Instead there are three tracks from her 1983 LP "She Works Hard For The Money " by which time I'd lost interest in her . It makes this a schizophrenic album but there were at least two great tracks to make it a worthwhile purchase.
The main reason for the odd track selection is the complicated history of Donna's labels. In the USA all her early records were released on Casablanca but in Europe they were licenced to a number of other labels such as GTO in Britain until 1978 when Casablanca ended the arrangement. By that time she'd already had the biggest hits of her career in Britain. Then in 1980 she left the label for mixed fortunes on Geffen. Casablanca was then bought out by Polygram who inherited a huge financial mess. Their lawyers found that Donna still owed Casablanca another album ; fortunately she already had enough material in the can that Geffen didn't like so she was allowed to use that to make up "...Money". Confusingly Polygram then put it out on another label they'd acquired, Mercury, presumably because of Casablanca's negative associations with drugs and excess. Donna then returned to Geffen and Polygram / Mercury put this out late in 1985 from the tracks they had easy access to as the last drops to be squeezed from Casablanca's main cash cow.
Even so, having 3 out of the 10 tracks from her most recent LP ( as with Eponymous ) and just one from her ambitious 1977 double album "Once Upon A Time" is a strange and disappointing decision.
Anyway "She Works Hard For The Money" is the first track , a huge hit in the State it was a modest 25 over here despite tons of airplay in summer 83. Co-written with producer Michael Omartian it's a tribute song to blue collar women ( not about prostitution as many speculated ) set to a sequencer pulse very similar to the contemporary Maniac by Michael Sembello. Donna's voice sounds surprisingly low in the mix and a bit cramped if truth be told. It's also got a pretty boring chorus so I think we called it right.
"Bad Girls " from the album of the same name ( from whence also came the omitted "Hot Stuff ") was one of the biggest hits of her career in the States, a number one compared to 14 here where it was rubbished by John Lydon during his infamous appearance on Juke Box Jury in 1979. Co-written with the male vocal group Brooklyn Dreams it's a solid slice of Chic-like funk with police whistles and a backing chant of "Beep Beep Yeah" for hooks. The actual song , which is definitely about prostitution , is rather slight.
"On The Radio " was a new track which gave its name to a 1979 compilation put out to mark her original departure from Casablanca. It also featured in the 1980 film Foxes. It didn't make the Top 30 here but reached 5 in the States. A Summer / Moroder composition it follows the Love Hangover template of starting out as a soul ballad and then morphing into a disco workout. It concerns a woman hearing an anonymous love letter read out on the radio and appropriating it to herself. Donna's voice is magnificent throughout and it's probably her most under-rated single.
"Stop Look And Listen" was another single from "She Works Hard For The Money" but didn't really do much business anywhere peaking at 57 in the UK in 1984. Written by Summer and Omartian it's a plea for greater social awareness sparked by seeing a homeless man on the streets set to a stilted electro-funk backing with a wobbly bassline and plenty of fake brass. Summer's vocal gives it some class but lacking a strong chorus it outstays its welcome.
"Last Dance " is from the 1978 disco film Thank God It's Friday in which Donna has a small part. It won an Oscar - the song not her acting. It was written by Paul Jabara. Giorgio Moroder apparently disliked the song and his kitchen sink production only emphasises how weak it actually is. The British public seem to have shared his reservations and it stalled at 51.
By contrast you don't get songs much stronger than "MacArthur Park " and Donna's version gave her a first number one in the US and restored her to the Top 5 over here in 1978. I wasn't familiar with the Richard Harris version when it first came out but loved this . It was also in the charts at a very happy time in my life so it was one of the main spurs to buying this LP. I would say it's a contender for best cover ever. Moroder and Bellotte's production is superb with the orchestral flourishes and mid-song synth break and the brass breaks which sound like they're going to morph into the hallowed Pearl and Dean theme from 70s cinema breaks give it an extra Proustian rush. Donna's vocal is beyond perfect ( and anything in Houston or Carey's repertoire ) - the way she glides from an anguished "On no" at the end of the second chorus into a "yee-ha !" to herald the synth break is just thrilling ( what another blogger would call the punctum ). With the exception of this compilation's closing track she was right - she never would have that recipe again.
"Heaven Knows" was on the same "Live And More" LP and released as a follow up single but it's very much a case of after the lord mayor's parade and it didn't make the Top 30 here. Donna wrote it with Moroder and Bellotte and performed it with the Brooklyn Dreams. Their Joe Esposito is the second , Bob Seger-ish lead on the track. That apart it's the sort of unexceptional disco workout that was beginning to sound a bit tired by 1979 with Chic in their pomp.
"Unconditional Love " is the third 1983 track here, a pop-calypso number recorded with temporary teen sensations Musical Youth whose fortunes were already fading by the time it was released ( this was to be their last appearance in the Top 20 ). Their contribution is substantial so it was rather ungenerous not to credit them on the label; it's very unlikely that it would have reached number 14 in the UK without them. It's pleasant enough in its woolly liberal unthreatening way although coming from two non-Rastafarians ( Summer and Omartian ) the referenes to "Ja's love " are a bit jarring if you'll excuse the pun.
"I Love You" was the first UK release on Casablanca and released while the last GTO single "Love's Unkind" was riding high in the charts. Its premature release may have deprived Donna of the honour of dethroning Mull of Kintyre which instead went to Althia and a different Donna. Despite the uninspiring title and chocolate box storyline it's an interesting track with Moroder and Bellotte's production halfway between the robotic brutalism of "I Feel Love " and the cinematic sweep of "Macarthur Park".
That just leaves "No More Tears ( Enough Is Enough ) " a real clash of the titans. Tin Pan Alley meets operatic disco as Donna duets with Barbara Streisand and stays with her. The song is roughly a game of two halves starting in Streisand's comfort zone then shifting gear into a Hi-NRG workout . Both women more than acquit themselves in each others' territory and it's endlessly fascinating working out who's doing what. It's also a strong song , an empowerment anthem ( albeit written by two blokes ) about cutting your losses and walking out on an unsatisfactory man. The best bit is when it quietens down three quarters of the way in and then both women build it back up again to the shouty climax. Kept off the top here at the end of 1979 by Pink Floyd and Abba it went to number one in the US but has been strangely neglected since perhaps ( like Under Pressure ) for lack of a video. They did a brief photoshoot together but never performed with each other.
There are better compilations of Donna's work than this especially as she had more hits after it was released but it added two great songs to my collection at a discount price so it did the job.
Saturday 11 January 2014
125 The Wishing Chair - 10, 000 Maniacs
Purchased : 10 June 1989
Tracks : Can't Ignore The Train / Just As The Tide Was A Flowing / Scorpio Rising / Lilydale / Maddox Table / Everyone A Puzzle Lover / Arbor Day / Back o' the Moon / Tension Makes A Tangle / Among The Americans / Grey Victory / Cotton Alley / My Mother The War
This was another inevitable purchase, the album that preceded "In My Tribe " ordered from Save Records in Rochdale for £6.99
"The Wishing Chair " was their first LP for Elektra released in September 1985. It was recorded in London and there are two important personnel changes from the subsequent albums we've discussed. The first is the producer ; here it's Joe Boyd, fresh from REM's Fables Of The Reconstruction and with a long track record in English folk rock. At this point also the band were a sextet featuring an additional guitarist John Lombardo who had a hand in writing most of the songs. For both of these reasons "The Wishing Chair " is a different beast to its successors ; the sound is denser, more "indie", less pop. Add to that Natalie Merchant's murkier vocal tone and opaque lyrics and this is a harder album to tackle. It's notable they played no more than two of these songs when I went to see them.
"Can't Ignore The Train " a Merchant / Lombardo opens the LP at a brisk pace with nice guitar work and an attractive tune which Merchant does her best to thread her words into in true Morrissey fashion leading to some odd phrasing at times. Much of the lyric is impenetrable -"through adventure we are not adventuresome" anyone ? - but the general gist is the inevitable march of time leaving the protagonist "sitting in the wishing chair ". Though it did little business as a single it gets the LP off to a good start .
"Just As The Tide Was A Flowing " is a traditional tune about a sailor's wife left feeling abandoned. It's a lovely arrangement with Jerry Augustyniak's drums powering the song up again each time the title phrase concludes a stanza close and the middle eight bringing in Dennis Drew's organ and an uncredited recorder solo to good effect. Merchant sings it in a strident tone which is fine but every so often there's an odd vowel sound - "singeng " "hah" for "hair" - which makes you wonder if she's doing it deliberately.
"Scorpio Rising " was the other single though not such an obvious choice. It's built around Steve Gustafson's melodic bassline reminding you that these guys were Anglophile Joy Division fans. Just over two minutes in Buck ( a co-composer with Merchant and Lombardo ) breaks out with a scorching solo which suggests the power relationships in the band were different at this time. Merchant's lyric protesting at abusive treatment points the way towards Tori Amos and Alanis Morrisette.
"Lilydale " is interesting in that it's a song about walking through a cemetery that predates the Smiths' Cemetery Gates. It's a gentler folkier tune composed by Merchant and Buck with the latter again garnering a solo, this time an intricate acoustic passage.
"Maddox Table" is a solo Merchant effort about a man who spent his working life at a furniture makers and is played at a brisk pace necessarily to fit all her lyric in. There's a great moment at 1: 28 when she pauses for breath and the guys stop along with her ; I wonder if she got the joke ? The twin guitars of Lombardo and Buck are fantastic here, worthy of Johnny Marr at his best.
"Everyone A Puzzle Lover " is a Merchant- Lombardo song and even more verbose. After two verses pondering why some people are born to success and others hardship it switches to a personal account of a grandfather's last words. It's mid-paced with Buck's mandolin and Drew's accordion the dominant instruments and imbuing the last verses with appropriate sensitivity. The song could probably have been improved by a chorus.
The brief "Arbor Day " is another solo Merchant effort . Drew stays on the accordion and it's played in waltz time. Merchant sings - with more bizarre pronunciations - of some subversive writer detailing turbulent times. I've a feeling I should know who or what inspired it but I haven't cracked the code yet.
"Back o' the Moon " seems to be a guide to life from an old man to a young girl Jenny whose name is used for musical punctuation. Again it's very dense and wordy. Drew co-wrote it with Merchant but it's Buck's mandolin that dominates the track.
"Tension Makes A Tangle " is a re-recording of a song from their indie days. It's a stream of consciousness poem about family tragedies and triumphs which Merchant ploughs through with her odd vowels seemingly oblivious to what the musicians are doing behind her. Around a basic acoustic strum Drew and one of the guitarists seem to be in a duel who can come up with the best approximation of whalesong. It's the oddest track on the LP.
"Among The Americans" has the most straightforward lyric about historic Native American displacement and veers between drone-y Cocteau Twins dream rock and their more usual upbeat folk-pop but again a proper chorus would have given it greater impact.
"Grey Victory " describes the effects of the Hiroshima bomb in the style of a Wilfrid Owen poem. Her graphic lyrics e.g "evil debris of human bodies " are an uncomfortable fit with the breezy music where Buck plays looping Robert Smith solos over Lombardo's chiming arpeggios.
"Cotton Alley " is an account of (rather rough) childhood teasing possibly leading up to a loss of virginity in the titular location. The sepia-toned music has Augustyniak playing brushes behind Drew's woozy organ and the mixed-down guitars although Merchant doesn't soften her tone to match.
The album concludes with another re-recorded song "My Mother The War " probably the most celebrated song from their early days and a live staple. There's a strong Joy Division influence in Gustafson's melodic bassline and Augustyniak's upfront drumming. Merchant delivers a non-judgemental lyric about an army mother but the key player here is Buck whose atonal screeching guitar tells you what's really going on wherever her son is posted.
Some fans dislike the polished -up sound on "In My Tribe" and cite this album as their favourite. I think it's a bit heavy-going by Side Two where I find myself just waiting for the last song but it is more consistent than "Blind Man's Zoo" and a worthy addition to the collection.
Sunday 5 January 2014
124 Peter Gabriel (3)
Purchased : May 1989
Tracks : Intruder / No Self-Control / Start / I Don't Remember / Family Snapshot / And Through The Wire / Games Without Frontiers / Not One Of Us / Lead A Normal Life / Biko
This was another purchase from Britannia.
Here I come up against the TPL conundrum. It's fine if I get to an LP before Marcello does but if it's the other way round he doesn't leave much to say and I tend to assume anyone coming here also goes there though I don't imagine the reverse is true.
Anyway this was the third of Peter Gabriel's pre-So self-titled albums , also known unofficially as "Melt" for the front cover , and the biggest seller due to its big hit single. It was released in May 1980 and gave Peter his first number one record. It's also notable for its eclectic roster of guest stars.
The opening track "Intruder " is said to be the first track to feature the "gated" drum sound popularised by the man on the sticks here Phil Collins. He opens the song with a typically thunderous drum pattern which remains the backbone of the song. Gabriel adopts a proletarian accent for his first person account of a burglar breaking into a rich couple's house for the thrill. The music tells the story from the point of view of the occupants , striving to re-create the unsettling feeling that there's an alien presence in the home with creaks and scrapes, an unhinged xylophone solo and scary backing vocals ( pilfered wholesale by Tears For Fears on The Prisoner and this isn't the only track they were listening to ).
"No Self Control" was the second single from the LP and reached number 33 which was pretty good going for an utterly undanceable song about mental illness with no real chorus. Collins sticks around but he's not there for the whole song as the quiet verses are set to a bubbling rhythm played on marimbas. Robert Fripp supplies the needling guitar and Gabriel's friend Kate Bush echoes his declaration of the title as Collins cuts loose in his own inimitable style. It's heady stuff but does lack any hook that you could really remember the song by.
Start is a brief saxophone instrumental played by jazz legend Dick Morrissey. It sounds more like the coda at the end of a song rather than the beginning which may be the joke.
"I Don't Remember" could be about amnesia but is more likely about a man under interrogation. It's a crunching modern rock song that could just as easily been on Bowie's Scary Monsters. XTC's Dave Gregory makes his presence felt on guitar, Tony Levin's Chapman Stick gives the track a queasy feel with Gabriel's wordless wails subtly suggesting a move onto actual torture. It was a non-charting fourth single release in 1980 but a live version scraped the bottom end of the charts three years later.
"Family Snapshot" is an account of the Kennedy assassination from the point of view of Oswald. It has a tripartite structure beginning as a piano ballad as Oswald awaits the President's arrival then becomes more threatening as the cars arrive and Jerry Marotta's drums and Morrissey's sax point the way to the tragedy. After the line "I let the bullet fly" it all dies down again to John Giblin's bass and a little quiet synth as Gabriel finds the attention-seeking little boy in Oswald's motivations. Tears For Fears listed it as one of their favourite songs in an early interview for Smash Hits and it's not hard to join the dots.
"And Through The Wire" features the most surprising guest player Paul Weller on guitar. This wasn't mentioned at all in Paul Honeyford's book on The Jam so his name on the credits was a real surprise to me. Apparently The Jam were working on Sound Affects in the same studio and Weller was invited to contribute. It's a bracing listen with Weller's power-chording and Marotta's cowbell combining with a half-snarled vocal to abrasive effect. It seems to be about the inadequacies of a relationship by telephone.
Side Two starts with the incomparable "Games Without Frontiers", an anti-war song that mocks militarism by comparing the mentality to children's games and the mindless TV game show It's A Knockout ( Gabriel must be glad he didn't namecheck Stuart Hall ) . Kate Bush turns up again to sing the refrain "Jeux Sans Frontiers" as Gabriel recites the nursery rhyme lyrics. The arrangement is superb with Marotta's percussion working with David Rhodes's needling guitar and Larry Fast's synths to conjure up a sinister atmosphere before a brief whistled melody ( c/o Gabriel and producers Hugh Padgham and Steve Lillywhite ) leads into the agonised chorus. A number 4 hit in February 1980 it should have gone at least 3 places higher.
"Not One Of Us" is pretty clearly about prejudice and discrimination and with Fripp back on board is noisy and rocky. Marotta pounds away throughout sounding not unlike XTC's Terry Chambers . For me it's one of the weaker tracks with an unsubtle chanted chorus.
"Lead A Normal Life " is mainly a quiet instrumental with piano and percussion supporting a simple Satie-esque melody and one verse about life in a psychiatric hospital. After that synth noises and distant drumming hint that all is not well beyond the visitors suite.
"Biko" was Gabriel's muleheaded choice as third single and was partly vindicated by its Top 40 placing. It's a slow unremitting protest song about the black activist murdered in South Africa three years earlier, resting on a simple percussion hook ( again pilfered by Tears For Fears for Ideas As Opiates ) . Collins returns halfway through the song to play the surdo ( a huge bass drum usually used in samba ) while Gabriel recounts the story in his most impassioned tones augmented by Larry Fast's bagpipes ( on paper an unlikely combination but it works ). The song is bookended by snatches of the African song of defiance "Senzeni Na " which was sung at Biko's funeral. With due regard to George Harrison the road to Live Aid began here. As a single it baffled me but it makes more sense in this context.
As Marcello's piece said this album was recorded in a febrile threatening time and impressively reflects that. It doesn't make it an album for all seasons and no doubt many of those converted by So recoiled when this went into the CD player (which might be justification enough).
That's where we leave Peter in this story. Although his 1992 comeback single "Digging In The Dirt" was a belter the next one Steam was so blatantly a rewrite of "Sledgehammer" that it killed any interest in its parent. As to PGs 1,2 & 4 if I'd seen one of them in a sale I would probably have taken a punt but that simply never happened .
Tuesday 31 December 2013
123 Blind Man's Zoo - 10,000 Maniacs
Purchased : 20 May 1989
Tracks : Eat For Two / Please Forgive Us / The Big Parade / Trouble Me / You Happy Puppet / Headstrong / Poison In The Well / Dust Bowl / The Lion's Share / Hateful Hate / Jubilee
It was an absolute no brainer that I would purchase this from one of the Manchester stores as soon as it came out. Shortly afterwards I saw them at Manchester Free Trade Hall, one of my first drives into the big city, made unnecessarily fraught by my not knowing how to use the de-mister properly. Parking up was also a bit of a problem as there was a big Barry McGuigan fight in the city on the same night. The policeman I asked for advice recognised me from Spotland. The gig was great and a few weeks later it was broadcast on ITV; so far it hasn't surfaced on youtube.
"Eat For Two" was inspired by Natalie Merchant's own anxieties when 15 over a broken condom during sex with a 22 year old "boyfriend" as revealed in an interview in The Guardian. I must confess to being pretty shocked ; at this time I was very prone to thinking along that madonna / whore axis and I had Natalie very much in the former category. Despite opening with a very spiky one-note guitar riff from Robert Buck it blossoms out into a typically warm folk-pop song with a mournful melody. Natalie's empathy with the impending teenage mum is obvious and is complemented by Drew's piano and Jevetta Steele's backing vocals. It was my favourite single of 1989 though not a hit ( a disconnect that would become all too common in the coming decade ) .
Whereas "Eat For Two" would fit easily on "In My Tribe" , "Please Forgive Us" is the first evidence of this LP's shift away from personal topics to taking more obvious political stances. The lyric is an extended apology, presumably to Nicaragua from liberal-minded America, for the Contragate scandal which is fine except that it's clumsily expressed -"the billets were bought by us, it was dollars that paid them" and barely attached to Robert Buck's music. an all-purpose jangle that doesn't go anywhere. It's simply boring and a bit of a shock that they could produce something so uninspiring.
"The Big Parade " is a bit better, a fairly literal account of a young man visiting the Vietnam memorial in Washington DC where his father's name is inscribed. It's set to an appropriately funereal dirge with rich Hammond chords from Drew and parade ground drumming from Jerome Augustyniak for which he got the co-writing credit. It's still a case of "less words , more tune" please.
"Trouble Me" was the lead single and a respectable hit in the States though not here. Essentially it carries the same message as Bridge Over Troubled Water but it's set to such a pallid light funk-pop backing and insipid tune that the line "let me send you off to sleep" acquires an unintended meaning. The video with a beaming Natalie spending quality time with her granny ( the rest of the band are conspicuously absent ) highlights the problem many have with her - that self-conscious "worthiness" that informs much of her work.
"You Happy Puppet" at least allows for some ambiguity. It could be addressed to the politically unaware consumer or someone who doesn't realise they're in a manipulative relationship. Musically it's a close cousin to "What's The Matter Here " with Natalie fitting her words round a circular jangle in the same way and there's a nice acoustic guitar solo from Buck.
Side One closes with "Headstrong" where Merchant stridently declares that she won't be changed by anything her lover says or does. The sentiment is matched by her vocal tone and the uncompromising guitar squall and pounding rock drums reminiscent of Peter Gabriel. Again it's hampered by the lack of a good tune.
Thankfully Side Two is stronger by some distance. "Poison In The Well" addresses the issue of water pollution and the complacency of the water companies involved. While it's still over-wordy it has a good driving riff , brisk drumming and a decent tune.
Then they pull out an absolute cracker. "Dust Bowl " is a contender for their ( or anybody's really ) best song ever. Drew and Augustyniak sit it out and with only minimal bass it's just Merchant singing over Buck's delicate guitar riff. The lyric looking at poverty from a mother's point of view cuts deep and Merchant's vocal balancing anger and tenderness is a masterpiece of control.
"The Lion's Share " seems to be about an African dictator fleecing his people; there were plenty to choose from in 1989. It has an attractive tune and arrangement but it's very close to being a mellowed-out "Don't Talk ".
The last two tracks are more ambitious. The clumsily-titled "Hateful Hate " begins with a portentous little overture from Drew before the drums kick in and power a diatribe about the West's rape of Africa packing slavery, missionary activity colonialism and ivory poaching into its four and a half minutes. The attack is relentless and bolstered by a cast of string players in the latter half of the song to add to its nightmarish quality. It's one of those songs that you don't always want to listen to but have to admire for its ferocity.
"Jubilee" is a Merchant solo composition and as with "Verdi Cries" on the previous LP she drops the rest of the band and brings in some guest players to accompany her on a slow dark tale of a mentally disturbed church janitor who burns down the building on seeing some inter-racial dancing. She has the sense to vary the arrangement with each verse , a bit of harpsichord here , a bit of cello there, but even so it's a tad too long at six minutes. The last verse with its screeching strings is genuinely frightening and a stark conclusion to the LP.
It was always a tall ask for this to match "In My Tribe" ( although its best tracks do ) and I don't want to give the impression that it's a bad record. It's a good album that doesn't reach the same heights as its predecessor ( commercially it outperformed IMT ) and consequently doesn't get played as much.
Monday 30 December 2013
122 Eponymous - REM
Purchased : April 1989
Tracks : Radio Free Europe / Gardening At Night / Talk About The Passion / So. Central Rain / Rockville / Can't Get There From Here / Driver 8 / Romance / Fall On Me / The One I Love / Finest Worksong / It's the End Of The World
This was the next purchase from Britannia. You may have noticed above that there was a bit of a gap since the last one and there is a story behind that. After umming and aahing throughout 1988, in January 1989 I bought my first car, an ex-army left hand drive Vauxhall Chevette estate for £550. Coming home from its first away trip to Doncaster in early February I crashed it in Barnsley where I mistook a green light signifying the end of a pedestrianized period for the way ahead and cut straight across another vehicle as our road actually swung sharply left. In mitigation the road markings were a little worn at that point as well. As I'd only bought fire, third party and theft insurance I had to pay half the purchase price again to get it repaired which put me briefly into an overdraft situation so LP buying had to stop for a short while. As a nice postscript my two companions Carl and Sean who didn't know each other before that day bonded over the trauma and were friends for years afterwards.
OK, on to REM. This is the first chapter in a story that only ended fairly recently and so another landmark purchase. I think I first heard the odd track on David Jensen in the early eighties but they really came to my attention in 1984 when a guy in my Hall of Residence called Mike Hughes started raving about them particularly after their gig at the Refectory that spring. Mike was a Stalinist NME reader who liked whatever they told him was good and vice versa ( When I first came across Marcello Carlin on Popular I thought it might be Mike writing under a pseudonym ). After he'd trashed Talk Talk I wasn't going to listen to any of his recommendations and the following year Andy Kershaw arrived on Whistle Test and included them in his list of bands you should hear. So now there were two barriers to appreciating REM. What changed were the two 1987 singles "It's The End Of The World As We Know It" and "The One I Love " which I heard on The Chart Show and loved and it was on the strength of those that this was purchased.
"Eponymous" is a sort of "Greatest Hits" ( if they'd had any ) album marking the end of their association with IRS after five albums and their signing for Warners in a big bucks deal. Ironically they were just beginning to break through to a bigger audience as well; "The One I Love " was their first flirtation with the British charts. The break seems to have been amicable enough; it's clear from the sleeve that the band were willing participants in this exercise although Warners can't have been too thrilled that it was released just a month before the band's first album on their label. The tracks are roughly in chronological order so you can follow their progress from student peddlers of wilfully obtuse Americana to stadium rockers in waiting.
I have a decision to make now on writing about early REM. I bought Marcus Gray's It Crawled From The South in 1992, an exhaustive tome which manfully attempts to get to the heart of all the band's music up to that point even where the band themselves claimed that the "lyrics" were phonetic nonsense. I'd sooner the blog was "all my own work" but then it seems pigheaded to ignore such a useful source of insight. Let's see how we go.
The album starts right at the beginning of their career with the original version of "Radio Free Europe" as released on the independent label Hib-Tone in 1981 making it the US equivalent of New Rose. Some took it as a protest about the tyrannical conservatism of US rock radio but it's actually a quizzical song about the radio station set up during the Cold War to broadcast propaganda to the Eastern Bloc. Michael Stipe's lyrics are usually elliptical and this one's full of non-seqiteurs although you could argue that it represents the babble of a radio station that was always getting jammed. The influence of English New Wave is apparent in the music with Mike Mills's pulsing bass and Bill Berry's crisp drumming making it sound like an early Cure song although Stipe's mumbled diction isn't really comparable to anyone else.
"Gardening at Night" was the lead track on their first release for IRS the "Chronic Town" EP in 1982. The first few bars sound like New Order's Ceremony but abruptly Peter Buck's guitar switches to a melodic Byrdsian riff and REM's trademark sound is born. It's driven along by Berry's punchy drumming save for two quiet passages when he marks time with rimshots. Berry has said it was inspired by another member using the phrase as a euphemism for needing a leak when they were driving. There are a number of different interpretations to the song but I think it's a general metaphor for a hopeless undertaking and the mournful melody supports that.
"Talk About the Passion" is from their debut LP "Murmur" and like many of their early songs it has only one repeating verse for hypnotic effect. It's a mid-paced jangly pop song with a fat bassline and hummed backing vocals from Mills and in the latter half of the song some cello and violin to fill out the sound. The words , relatively clear here , seem to be expressing doubt about the liberal conscience shared by all four members- "Not everyone can carry the weight of the world".
The next two tracks are from second LP "Reckoning". "So. Central Rain" is a chiming folk-pop song beefed up by Berry's powerful drumming. It's a break-up song with Stipe mumbling through the verses before an agonised cry of "I'm Sorry" by way of a chorus. The coda with Stipe wailing wordlessly over violent keyboard stabs emphasises the turmoil at the heart of the song.
"( Don't Go Back To ) Rockville" is untypical of their early work in its lyrical simplicity. It's an unambiguous plea from Mike Mills ( though Stipe sings it ) to a female student in Athens not to return to her home town. Although a little mean-minded in parts "You'll wind up in some factory " the naked honesty is palpable and it's set to a lilting country rock backing with a rousing chorus. It's just a shame it's not been a hit for anyone as it would be so easy to substitute "Rochdale" into the title and sing it at any ex-manager or unpopular ex-player we came across.
"Can't Get There From Here " was a single release from their third and most demanding album "Fables Of The Reconstruction". The lyrics are a daunting challenge with cryptic references to band friends and places but the general message seems to be Athens is a good place to sort your head out. The chorus has overlapping lines with Stipe singing the title while Mills confidently asserts "I've been there I know the way". The music admits some new influences with Buck playing some clipped funk guitar in the verses and the horns in the chorus suggesting Stax.
Side Two commences with "Driver 8", also from "Fables" and an absolute belter. Buck lays down one of his best ever riffs to lead into a train song that drips with Southern Gothic atmosphere. On one level it's just an impressionistic poem about the sights to be seen from a locomotive cab ( shades of Jimmy Webb at his best ) but the music infuses it with palpable dread. What exactly is the driver taking a break from and where's the destination ? One of their very best songs.
I can't say that about "Romance", originally a Murmur outtake but re-recorded in 1986 for the forgotten film Made In Heaven. The pounding drums and angular bassline on the verses are reminiscent of Drums and Wires era XTC and while the chorus is more recognisably REM it's not one of their strongest. This is also one of their songs where the band's claim that the lyrics have no meaning rings most true.
"Fall On Me" is the only track from fourth album "Life's Rich Pageant". When they played it on Unplugged in 1991 Stipe introduced it as his personal favourite and he's not far wrong. It's almost a duet between Stipe and Mills with the latter singing a counter-melody during the second verse and taking over the bridge. It started out as a song about acid rain and then became about aggressive capitalism -"Buy the sky and sell the sky " generally. The chorus is anthemic with Berry's drums punching the title home.
The album concludes with the three singles from their final IRS album "Document" which saw them start to post serious sales figures. "The One I Love " made their first mark on the UK singles chart reaching number 51 at the tail end of 1987 ( and 16 on re-release in 1991 ). The band have mentioned 10cc in interviews and this song reverses the message of I'm Not In Love ; where Stewart's feeble denials emphasised how deep he was in , Stipe's coldly drawled "a simple prop to occupy my time" destroys the idea that the song is any sort of dedication as if Buck's incendiary churning guitar wasn't evidence enough.
"Finest Worksong" actually got one place higher in the UK although it's nowhere near as familiar a song. It's heavily indebted to the Velvet Underground built around a circular guitar figure that mirrors the grind of the average working day. Stipe always keeps his politics close to his chest but the line "Throw Thoreau and rearrange " suggests he's not advocating just dropping out as a solution.
"It's The End Of The World As We Know It ( And I Feel Fine ) " is their update on Subterranean Homesick Blues with a parade of stream of consciousness images and phrases delivered at breakneck speed by Stipe with the aid of Mills before a killer of a chorus. Different interpretations abound but I tend to favour it being a pre-Coupland critique of the MTV generation and its political apathy. From Berry's introductory drum roll to the false ending it's the most exciting song in their repertoire and a great way to finish off a superb compilation.
Tuesday 24 December 2013
121 Julia Fordham - Julia Fordham
Purchased : January 1989
Tracks : Happy Ever After / The Comfort Of Strangers / Few Too Many / Invisible War / My Lover's Keeper / Cocooned / Where Does The Time Go / Woman Of The 80s / The Other Woman / Behind Closed Doors / Unconditional Love
Actually I must have told a lie on the last post as this one came from Britannia as well so it must have been a buy one get two half price offer.
Here we have another forgotten female singer-songwriter from the late eighties. This is an entirely self-written album though there's a huge cast list of supporting musicians, a fair few of whom were on Infected including David Palmer though he's only on one track. Julia herself served time as a backing singer for Mari Wilson and Kim Wilde before cutting a solo deal with Circa Records. This was her debut LP released in the summer of 1988.
This was largely bought on the strength of the Top 40 hit "Happy Ever After" which kicks off proceedings. It's an interesting song that slips from personal to political dissatisfaction ( over apartheid ) halfway through and the sound gradually fills up aided by Grant Mitchell's crisp production. It's a percussion-driven track with a similar tempo to Terence Trent D'Arby's Sign Your Name and Peter Gabriel's Biko is another obvious influence. I don't have the technical vocabulary to describe Julia's deep and rich voice ; it's probably closer to a jazz voice than pop. She actually drops out of the song towards the end allowing Afrodisiak to chant it to a close.
The single that preceded it was "The Comfort Of Strangers" which has an interesting confessional lyric about looking for casual sex. Unfortunately it's set to the blandest , formulaic, late 80s pop arrangement this side of Climie Fisher. Julia's vocal style isn't exactly suited to the subject matter either. With no real hook it wasn't a hit. Bowie sideman Carlos Alomar adds some interest with his intricate guitar work but it's not enough.
The same problem is even more evident on "Few Too Many" which sets lyrics like "My appetite for anger is really ravenous" to a soporific supper club arrangement , all languid fretless bass and tasteful percussion, worthy of Sade at her most boring.
"Invisible War" is much much better, a piano ballad with mature lyrics about a failing relationship. It has a strong mournful melody and Julia sings it with beautiful control.
"My Lover's Keeper" is a very busy piece of pop funk with Palmer's firm drumming and Luis Jardim's chattering percussion keeping it moving. While I was writing that last sentence I was struggling to think who it reminded me of and I realise now it's Living In A Box particularly the chorus with its blaring brass. Underneath the bluster it's not a very strong song with Julia's lyrics back of an envelope standard.
"Cocooned" is languid and jazzy with the piano wandering about while Julia emotes fretfully about whether her relationship is cutting her off from the world. It's not very well expressed and the tune's forgettable.
"Where Does The Time Go ?" fell one place short of the Top 40 in February 1989. The title is self-explanatory ( and repeated often enough for near-hit status ) but the rhymes are a bit chocolate box - "reasons/ seasons", "worrying/hurrying" . The music is glossy but vapid; the main interest is in how much guest vocalist John O'Kane sounds like Michael McDonald (a lot ).
The most talked about track - at least at the time - follows next. When it comes to making a rod for your own back , titling a song on your debut LP "Woman Of The 80s" takes some beating and I seem to recall it being brought up in a number of her subsequent reviews. As a feminist anthem it falls somewhere between I Am Woman and Sheena Easton's Modern Girl ; Julia asserts that she won't call her man but admits that she misses him. Musically it's more of that jittery Living In A Box pop-funk ) , spunky but lacking any pop hooks. Hence. as the follow-up single to "Happy Ever After" it flopped.
"The Other Woman" is a downbeat rumination on being someone's mistress that sounds vaguely like Alison Moyet's All Cried Out without the big chorus. Ghosts from earlier in the decade , former Belle Starr Clare Hirst on sax and Julia's former employer Mari Wilson on backing vocals help out but in neither case is their contribution very noticeable.
"Behind Closed Doors " is another piano ballad but it re-uses the melody from "Woman Of The 80s and ends just as it seems to be building.
"Unconditional Love" re-locates that pop-funk sound to close out the LP. The song takes second place to the groove and mainly consists of a rather bludgeoning chant of the title.
Well, two good tracks out of eleven isn't enough for me so my interest in Julia ended here. She hung around long enough to chalk up a Top 20 hit with the forgettable "(Love Moves ) In Mysterious Ways" in 1992 but like many other artists of this period she was buried by Britpop ( arguably a more effective scouring agent than punk), and hasn't troubled the charts since.
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