tag:blogger.com,1999:blog-28164706612491204322024-02-29T06:49:07.230+00:00Then Play LongMarcello Carlin and Lena Friesen review every UK number one album so that you might want to hear itUnknownnoreply@blogger.comBlogger551125tag:blogger.com,1999:blog-2816470661249120432.post-22413804968427697262021-09-07T12:49:00.007+01:002021-09-07T12:51:57.996+01:00Alanis MORISSETTE: Jagged Little Pill<p style="text-align: justify;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/4/47/Alanis_Morissette_-_Jagged_Little_Pill.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://upload.wikimedia.org/wikipedia/en/4/47/Alanis_Morissette_-_Jagged_Little_Pill.jpg" /></a></div><br /><p></p><p style="text-align: justify;"> </p><p style="text-align: justify;"><span style="font-family: times;"><span style="font-size: medium;"><i>(#547: 4 May 1996, 2 weeks; 29 June 1996, 1 week; 20 July 1996, 8 weeks)</i></span></span></p><p style="text-align: justify;"><span style="font-family: courier; font-size: medium;"> </span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-size: medium;"><b><span style="font-family: times;"><span><span style="color: black;">Track listing:<span>
</span></span></span><span style="color: black;">All I Really
Want/You Oughta Know/Perfect/Hand In My Pocket/Right Through
You/Forgiven/You Learn/Head Over Feet/Mary Jane/Ironic/Not The
Doctor/Wake Up</span></span></b></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-size: medium;"><b><span style="font-family: times;"><span style="color: black;"> </span></span></b></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-size: medium;"><b><span style="font-family: times;"><span style="color: black;"><i>(MC's Note: this post was written by Lena and edited and published by me.) </i><br /></span></span></b></span></p><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">
</span></div><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;"> </span></span></p><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">
</span></div><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span><span style="color: black;">It
must have been Madonna who saw something in the girl – and she was just
a girl, still – who had already made two albums as a teenager (and
written the songs herself).<span> </span></span></span><span style="color: black;">That Morissette was
raised a Catholic and had been running with the ‘adult crowd’ when she
was sixteen, and hadn’t really been encouraged to find her voice, until
now...</span></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;"> </span></span></p><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">
</span></div><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span><span style="color: black;">For
most of the world, Morissette was a figure out of the blue; but if you
lived in Canada (as I did) you at least knew she had been in the music
business for some time
(with albums <i>Alanis</i> and <i>Now Is The Time</i>) and this was her big adult statement, a coming-of-age album.<span>
</span></span></span><span style="color: black;">That it was such a
resounding success is in part to that freshness – she carries no
baggage, is disarmingly direct and is, in today’s terms, ‘relatable.'</span></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;"> </span><span><span style="color: black;"> </span></span></span></p><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">
</span></div><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span><span style="color: black;">Not
that I bought this album myself at the time – my own huge
rock-album-by-a-female-telling-it-like-it-is remains the incomparable
<i>Only Everything</i></span></span><span style="color: black;"> by Juliana Hatfield, an album I am too close to in so many ways to write about.</span><span><span style="color: black;">
</span></span><span style="color: black;">Basically it’s one of those
albums that didn’t so much change my life but gave me hope that maybe
someday someone would hear it and immediately get me.</span><span><span style="color: black;">
</span></span><span style="color: black;">It is such an all-encompassing album that when
</span><i><span style="color: black;">Jagged Little Pill</span></i><span style="color: black;">
came along a few months later, I had no real need of it, and as
Morissette is a Canadian I was bound to hear songs from it for well over
a year on the radio
anyway.</span><span><span style="color: black;">
</span></span><span style="color: black;">I hate to condescend but I thought she was for the girls – well,
</span><i><span style="color: black;">yes</span></i><span style="color: black;"> – but hearing the whole thing makes me think a bit differently.</span></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;"> </span></span></p><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">
</span></div><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span><span style="color: black;">If
you lived in Canada in the post-WWII era, you knew something was wrong
with the Catholic church – the church that Morissette attended, the
church whose schools she
attended as a girl.<span> </span></span></span><span style="color: black;">The
line ‘slap me with a splintered ruler’ jumps out of “All I Really Want”
It reveals the main theme of the album – authority and her rebellion
against
it.</span><span><span style="color: black;"> </span>
</span><span style="color: black;">She’s angry, even if she didn’t go through the
</span><span style="color: black;"><a href="https://en.wikipedia.org/wiki/The_Boys_of_St._Vincent">hell of being in an orphanage</a>.</span><span><span style="color: black;">
</span></span><span style="color: black;">That titular bit of
knowledge she values comes from her own experience, and yet she cannot
escape the ‘loverless priests’ (in “Forgiven”) who at least gave her
some structure of how she should behave, even if she
went against them in her youth.</span><span><span style="color: black;">
</span></span><span style="color: black;">At least she can confess; and this album is a bit of a confession too.</span><span><span style="color: black;">
</span></span><span style="color: black;">It starts with a list of
things she wants (presaging “SSSSSSSSSSOOO tell me what you want/I’ll
tell you what I want what I really really want” by a year) – someone who
can catch her drift, yes, but ultimately also
justice.</span><span><span style="color: black;">
</span></span><span style="color: black;">She knows she’s stressing you out, she’s disgusted by your apathy (towards what, who?) and wonders why you can’t stand silence.</span><span><span style="color: black;">
</span></span><span style="color: black;">Alanis is not here to give
you a good time, she is here to give herself and you a place to vent, to
be angry, to speak out and reflect on experience.</span><span><span style="color: black;">
</span></span><span style="color: black;">Apart from “Head Over Feet” there are no love songs here, and even that love is in spite of herself.</span></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;"> </span></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span><span style="color: black;">Now you may think, what was I up to?<span>
</span></span></span><span style="color: black;">Did I have any real right to condescend to her?</span><span><span style="color: black;">
</span></span><span style="color: black;">In reality, I didn’t.</span><span><span style="color: black;">
</span></span><span style="color: black;">1996 was a long year of
almost everyone getting ahead of me, quite determinedly in some cases,
with the also slowly growing realization that it was a waste of time
comparing myself to others.</span><span><span style="color: black;">
</span></span><span style="color: black;">Already
fate/destiny/what-have-you was seeing to that* as well as the death of a
young woman, a friend of those in my social circle.</span><span><span style="color: black;">
</span></span><span style="color: black;">It made the idea of status anxiety even more poignant and terrible.</span><span><span style="color: black;">
</span></span><span style="color: black;">She seemed to have
everything sewn up – a part-time job as a teacher in a good school, a
boyfriend and (I saw her once, but was not introduced to her) a kind of
glowing intelligence.</span><span><span style="color: black;">
</span></span><span style="color: black;">She still lived with her parents, longing for her many gifts to be recognized...</span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span>
</p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;">And then she was gone.</span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span>
</p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span><span style="color: black;">This is why I can’t help but hear
<i>Jagged Little Pill</i></span></span><span style="color: black;"> as the album of one who
<i>did </i>get to escape and live to tell her tales – she had to go to
Los Angeles with Glen Ballard to work on the songs and record them, as
the
</span><i><span style="color: black;">politesse</span></i><span style="color: black;"> of Canada (I am guessing) was a little to repressive for her.</span><span><span style="color: black;"> </span></span><span style="color: black;">It was meant to be a big
album, I think – the music is purely in service to the lyrics and they
are as direct and explicit as possible – big sing-a-longs that angry
girls/young women can and do still relate to**
in a big way.</span><span><span style="color: black;"> </span></span></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span><span style="color: black;"> </span></span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span><span style="color: black;">That said, this album also reminds me of the pathetic comedy that was my, uh, ‘lovelife’ at the time.<span>
</span></span></span><span style="color: black;">I swear, it was like
a bell had gone off and everyone I knew was pursuing someone,
hopelessly maybe, but pursuing them nevertheless.</span><span><span style="color: black;"> </span></span><span style="color: black;">Here’s Alanis telling some
guy off because he was cheating on her with obvious ‘marriage material’
(“I hate to bug you in the middle of dinner” at least isn’t
passive-aggressive nonsense) when I in turn was being
courted by a man who took me to a fairly average Italian place and only
once the bill came did he tell me it was a date.</span><span><span style="color: black;"> </span></span><span style="color: black;">Talk about not really
knowing what to do, while Alanis is telling some other guy in “Not The
Doctor” about how she doesn’t want to be this or that and hmm, yeah, do
you just want to be an insignificant other here?</span><span><span style="color: black;"> </span></span><span style="color: black;">Or instead someone free of cliché?</span><span><span style="color: black;"> </span></span><span style="color: black;">That the man who courted me would drive me around in his brother’s car, what album was in the car stereo?</span><span><span style="color: black;"> </span></span><span style="color: black;">This one, of course – that’s how ubiquitous it was</span></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;"> </span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span></span><span style="color: black;">But did I let him court me furtively, just for the sake of some attention?</span><span><span style="color: black;"> </span></span><span style="color: black;">Why, yes. </span><span></span><span style="color: black;">I should not have done this, especially since he had already known me socially for...four
years?</span><span><span style="color: black;"> </span></span><span style="color: black;">The whole thing was some sort of
party game, a kind of musical chairs, while Alanis was already over
irony (how can you have a “free ride, when you’ve already paid”?) and
extolling the virtues of being excessive and trying
too hard and living and learning.</span><span><span style="color: black;"> </span></span><span style="color: black;">What on earth was </span><i><span style="color: black;">I</span></i><span style="color: black;"> learning by being courted by someone years after it would have made sense?</span><span><span style="color: black;"> </span></span><span style="color: black;">That I was willing to go along with all this was also very (a poor excuse, but a genuine one) 1996.</span><span><span style="color: black;"> </span></span><span style="color: black;">David Stubbs, in his book
about that year, says “Why didn’t I do more? Why didn’t I do better?” In
my case, why did I not stop someone courting me when the answer was
always going to be no?***</span><span><span style="color: black;"> </span></span></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span><span style="color: black;"> <br /></span></span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><i><span style="color: black;">Jagged</span></i><span style="color: black;">
</span><i><span style="color: black;">Little</span></i><span style="color: black;">
</span><i><span style="color: black;">Pill</span></i><span style="color: black;">
is an album made with a clarity and sharpness of feeling that I lacked at
the time – and an impatience I didn’t have, a wary guardedness. With
her sharp voice and candid stories,
Alanis won over a whole generation in a way that Juliana Hatfield (or
indeed Liz Phair) could not, a nice Canadian girl breaking loose and
telling it like it is, and all at the age of 21.</span><span><span style="color: black;">
</span></span><span style="color: black;">Alanis’ courage to have her
voice taken seriously (she disses the industry men who saw her as a
mere sex symbol in “Right Through You”) gave a lot of others girls
courage too.</span><span><span style="color: black;">
</span></span><span style="color: black;">But not just courage – a
certain smart wordiness, humour, a willingness to be yourself and not
mould yourself to someone else’s image (her Canadian accent is loud and
clear).</span><span><span style="color: black;">
</span></span><span style="color: black;">Have I been too forward here?</span><span><span style="color: black;">
</span></span><span style="color: black;">I have only been giving my account, just as Alanis has...</span></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;"> </span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;">I
needed to find a way out, to be shown that was even possible, to be
given a sign. It would not be easy, I knew. I would have to pull
away and be brave and wait. A song on the
radio about waiting would help, wouldn't it?</span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;"> </span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span><span style="color: black;">*I had a mystical experience in the true William James
<i>Varieties of Religious Experience</i></span></span><span style="color: black;">
way in 1995, which is exactly the kind of thing that isn’t really
‘relatable’ in a literal sense, and it of course changed me in subtle
ways.</span><span><span style="color: black;">
</span></span><span style="color: black;">It did introduce me to St. Bede, forever depicted writing, or more likely shown thinking about what to write next.</span><span><span style="color: black;">
</span></span><span style="color: black;">I’m with you, Bede.</span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;"> </span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;">**Olivia Rodrigo is one of Alanis’ many musical daughters, so to speak.</span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: black;"> </span></span></p><span style="font-family: times; font-size: medium;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times; font-size: medium;"><span><span style="color: black;">***I
was point-blank propositioned one warm spring night by someone who was
once my friend’s they-were-engaged-and-everything-boyfriend, as of about
six months previous.<span> </span></span></span><span style="color: black;">Pardon the swearing,
but shit was getting really weird and ugly (too vivid remembrances of
me telling his best friend about this in a quite justified
the-fucking-hell way and him coolly dismissing my concerns
as Beck’s “Devil’s Haircut” came on the cd jukebox) and I kept up being
social but things were unravelling in a bad way.</span><span><span style="color: black;"> </span></span><span style="color: black;">God knows what arch smug things the man was courting me was saying to others; I don’t want to know.
</span></span></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-39478641174148180642021-06-11T10:20:00.000+01:002021-06-11T10:20:42.264+01:00TAKE THAT: Greatest Hits<p style="text-align: justify;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/c/cb/TTGH.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://upload.wikimedia.org/wikipedia/en/c/cb/TTGH.jpg" /></a></div><br /><p></p><p style="text-align: justify;"> </p><p style="text-align: justify;"><i>(#546: 6 April 1996, 4 weeks)</i></p><p style="text-align: justify;"> </p><p style="text-align: justify;"><b>Track listing: How Deep Is Your Love/Never Forget/Back For Good/Sure/Love Ain't Here Anymore/Everything Changes/Babe/Relight My Fire/Pray/Why Can't I Wake Up With You/Could It Be Magic/A Million Love Songs/I Found Heaven/It Only Takes A Minute/Once You've Tasted Love/Promises/Do What U Like/Love Ain't Here Anymore (U.S. Version)</b></p><p style="text-align: justify;"> </p><p style="text-align: justify;">Virtually until the last minute, BMG Records and Nigel Martin-Smith,
Take That’s manager, endeavoured to convince their audience that the group,
even as a four-piece, were still a going concern. In the notes of their <i>Greatest Hits</i> booklet, Gary Barlow is quoted as saying
of "How Deep Is Your Love": “We wanted to prove that we could still
do a cover version this far on in our career and do it very well,” but
the truth was more prosaic – the <i>Greatest Hits</i> collection was
being prepared for release and the obligatory new track was required.
Loath to use any of the new songs he was quietly stockpiling for his own
imminent solo career, Barlow settled for the Bee Gees.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">Contractual obligations flow like a slightly stymied industrial canal through
“How Deep Is Your Love”; Barlow sings a rather glum, downbeat lead and
the rest of the group sound hardly able to stir themselves out of bed,
so much so that half of the backing vocals were provided by slowed-down
Fairlight samples of their voices. The mood is MoR acoustic Latin, the
original song’s harmonic ambiguities (e.g. the chord augmentations under
“then you softly leave” in the first verse or over “breaking us down”
in the chorus) are ruthlessly ironed out. A stray Minimoog – the ghost
of Robbie Williams? – waddles about in the distant slipstream, for instance in
the out-of-tempo pause Barlow inserts between “it’s me you need to show”
and the final chorus.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">The group scarcely bothers to conceal its disinterestedness in the
entire project; they sing as though they are being <i>made </i>to do it, this
late in their career, and are audibly looking for ways out. In that
sense, if no other, their “How Deep Is Your Love” does bear some
nocturnal comparison with the Bee Gees reading, which latter was used to
soundtrack Tony Manero’s all-night soul-searching session on the
subway; defeated in the only thing he’s ever been good at in his whole
life, unsure which exit to take.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">But the video made the dichotomy more
explicit, and here is where the Monkees comparison comes in, since you asked; in <i>Head</i>
the members of the latter jump off the bridge - the Gerald Desmond Bridge in Long Beach, fact fans - in slow motion to the strains of the “Porpoise
Song,” while in the video for “How Deep Is Your Love” Take That are
depicted tied to chairs, facing backwards towards a sheer cliff face,
fearfully gawping at a woman who silently walks between them, assessing
each for the drop.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">Eventually – just as their version dies off into a
tiny, rippling electronic hum – the woman pushes each of them off the
cliff. Some interpreted this as an oblique comment on how they felt
(mis)treated by their management. But it represents one of the quietest
yet starkest ends to any major pop group’s career. Then again, recall
how at the end of <i>Albert Angelo</i> the titular anti-hero (as with
all his anti-heroes, he was B.S. Johnson personified) is ignominiously
thrown into a canal by his ungrateful pupils and left there to drown,
and yet, even though he appears to die in the context of that book, he
actually continues to float out to sea, so far out that in Johnson’s
next novel a few years later he resurfaces as a pleasure tripper on a
North Sea trawler.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">What we are left with is the documented popular history of a teen pop group who fit their time and desired audience perfectly - or to a degree, since you will note from the above track listing that the story of Take That (with the exception of the pointless bonus remix stapled onto the record's end) is actually being told backwards. I am not sure whether there were any precedents for this kind of sequencing (answers to me on Twitter, please, and yes I know about <a href="http://nobilliards.blogspot.com/2021/06/the-beatles-anthology-2.html">"Real Love,"</a> which serves a similar purpose to the Bee Gees cover) but it is intriguing to begin at the end and slowly wind one's compass back to the band's embryo.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">I won't speak at length here about the group's make-it-big-elsewhere and imperial phases, since I have previously <a href="http://nobilliards.blogspot.com/2021/05/take-that-nobody-else.html">done </a>so <a href="http://nobilliards.blogspot.com/2021/02/take-that-everything-changes.html">twice</a>; instead I will rewind to their early days, which confirm the puzzling, though not uninteresting, story which this collection is attempting to tell. Indeed we were struck by how un-"Mancunian" Take That were (even though, in many ways, they couldn't have been more Northern) in that they offer <a href="http://nobilliards.blogspot.com/2015/06/new-order-technique.html">sunny cheer instead of grey dourness</a> - it is like being transported back to <a href="http://nobilliards.blogspot.com/2009/10/hollies-hollies-greatest.html">the happier days of Mancunian pop</a>. They have confidence and perhaps more importantly they had Robbie Williams, always lurking in the middleground or occasionally leaping out front - no one else could have pulled off that lead on "Could It Be Magic," and hardly anybody else in early nineties pop would have countered covering the song in the first place, let alone remodel it from an entirely different angle, thus pleasing <a href="http://nobilliards.blogspot.com/2013/07/barry-manilow-barry-live-in-britain.html">its co-author</a> immensely.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">Their "It Only Takes A Minute," it has to be said, takes its lead more from One Hundred Ton And A Feather than Tavares, but is a convincing update; "I Found Heaven" is a nice rave-era variant on late sixties soft-psychpop sun-soaked reflection ("Grazing In The Grass" by the Friends Of Distinction comes to mind) and "A Million Love Songs" proved that Barlow could <a href="http://nobilliards.blogspot.com/2009/04/beatles-with-beatles.html">win over the fans' parents</a>.<br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Even more intriguing, however, are the really early singles which hardly got anywhere. They all show a group emerging from a surprisingly febrile post-KLF mindset, with their growled, cement-consuming vocals and thudding beats. "Promises," their first top forty hit (though only just), is admirably uncompromising in that respect. But "Once You've Tasted Love" is the real revelation with its deep, sunlit valley of Pet Shop Boys chord changes sweetening the soundtrack's hardcore-knowing-the-score elements.<br /></p><p style="text-align: justify;"> <br /></p><p style="text-align: justify;">Overall, this is a thoroughly entertaining and imaginatively-programmed collection of hits which certainly deserved its triple platinum status and most likely deserved a better ending than its beginning. The group did eventually find their way to that better ending, following a prolonged period of rest and what some might still consider extensive extracurricular activity. In the
meantime, however, do permit me to say that the story of Take That does not quite end at this point,
but rather slips into voluntary suspended animation.</p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-27555849968786254392021-06-10T10:31:00.003+01:002021-08-20T15:13:58.195+01:00The BEATLES: Anthology 2<div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/0/0f/Anthology2cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="320" src="https://upload.wikimedia.org/wikipedia/en/0/0f/Anthology2cover.jpg" /></a></div><br /><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><i>('#545: 30 March 1996, 1 week)</i></p><p style="text-align: justify;"> </p><p style="text-align: justify;"><b>Track listing: Real Love/Yes It Is (Takes 2 & 14)/I'm Down (Take 1)/You've Got To Hide Your Love Away (Takes 1, 2 & 5)/If You've Got Trouble/That Means A Lot (Take 1)/Yesterday (Take 1)/It's Only Love (Takes 3 & 2)/I Feel Fine/Ticket To Ride/Yesterday/Help! (all four songs live on <i>Blackpool Night Out</i>)/Everybody's Trying To Be My Baby (live at Shea Stadium)/Norwegian Wood (This Bird Has Flown) (Take 1)/I'm Looking Through You (Take 1)/12-Bar Original (Take 2, edited)/Tomorrow Never Knows ("Mark 1"/Take 1)/Got To Get You Into My Life (Take 5)/And Your Bird Can Sing (Take 2)/Taxman (Take 11)/Eleanor Rigby (strings only - Take 14)/I'm Only Sleeping (rehearsal)/I'm Only Sleeping (Take 1)/Rock And Roll Music/She's A Woman (both songs live in Tokyo)/Strawberry Fields Forever (demo sequence)/Strawberry Fields Forever (Take 1)/Strawberry Fields Forever (Take 7 and edit piece)/Penny Lane (remix)/A Day In The Life (Takes 1, 2, 6 & orchestra)/Good Morning Good Morning (Take 8)/Only A Northern Song (Takes 3 & 12)/Being For The Benefit Of Mr. Kite! (Takes 1 and 2)/Being For The Benefit Of Mr. Kite! (Take 7)/Lucy In The Sky With Diamonds (Takes 6, 7 & 8)/Within You Without You (instrumental)/Sgt. Pepper's Lonely Hearts Club Band (Reprise) (Take 5)/You Know My Name (Look Up The Number)/I Am The Walrus (Take 16)/The Fool On The Hill (demo)/Your Mother Should Know (Take 27)/The Fool On The Hill (Take 4)/Hello, Goodbye (Take 16)/Lady Madonna (Takes 3 & 4)/Across The Universe (Take 2)</b></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">The inquisitiveness of the archivist has to be balanced out with the cold rationality of circumstances. There was a certain sense of closure about the hitherto firmly-closed catalogue of The Beatles. Despite reams of illegal evidence to the contrary, the Parlophone/Apple vaults were not empty; far from it. And there is a small element of <i>Wizard Of Oz</i> disillusionment inherent in discovering the untidy nuts and bolts which made the finished constructions possible - the great power turns out to be a little, insecure man pulling levers behind a curtain.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">The general understanding, however, is that Paul McCartney agreed to the <i>Anthology </i>video and audio opening of the band's archives essentially as a favour to George Harrison, whose Handmade Films company had collapsed in 1991 and who was apparently close to bankruptcy. There is also, of course, as with other <a href="http://nobilliards.blogspot.com/2010/03/beatles-let-it-be.html">posthumous </a><a href="http://nobilliards.blogspot.com/2012/07/the-beatles-beatles-at-hollywood-bowl.html">Beatles </a><a href="http://nobilliards.blogspot.com/2021/04/the-beatles-live-at-bbc.html">collections</a>, the beat-the-bootleggers subtext; and, perhaps above everything, there had been Britpop.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">The attempted coronation of the partially resurrected Beatles, intended to crown and climax the year of 1995, failed in Britain; mainly because too many other people preferred <a href="http://nobilliards.blogspot.com/2021/05/michael-jackson-his-tory-past-present.html">Michael Jackson</a> preaching about the Earth dying, or <a href="http://nobilliards.blogspot.com/2021/06/robson-jerome-robson-jerome.html">Robson & Jerome</a>, perhaps because the silent majority's idea of The Beatles stopped around the time <i>Anthology 2</i> begins.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">Then again, "Free As A Bird" wasn't nearly enough. At the time, however, it felt almost holy. I remember walking up and down Fulham Palace Road one grey Tuesday lunchtime, with <i>Anthology 1</i> in my Walkman and "Free As A Bird" playing over and over again, as though trying to summon some long-fled spirit. I didn't think of it at the time as a fudged compromise, using a fragment of a lo-fi Lennon home demo to draw out everything that was sentimental, conservative and frankly morbid about late period Beatles, and nor did anybody else. Producer Jeff Lynne did his best with what was available to him.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">But maybe the wider public already sensed a bill of goods, and the prospect of the boys crooning "On Moonlight Bay" with Morecambe and Wise was never going to be enough to inspire anybody. Already the very early Beatles seemed <i>ancient </i>in the mid-nineties, as though retrieved from the previous century, as opposed to just over thirty years ago.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Hence the launch of <i>Anthology 2</i> was by necessity lower key, and that was probably to its benefit. I don't really know what "Real Love" is doing right at the album's beginning. Again Lynne had only a home demo on cassette to work with, although at least this was a full song rather than a discarded fragment of one (or, more properly, a fusion of two songs on which Lennon had been working on and off since 1977 - "Real Life" and the later "Baby Make Love To You" - and which at one point had been pencilled in to begin side two of <a href="http://nobilliards.blogspot.com/2013/02/john-lennon-and-yoko-ono-double-fantasy.html"><i>Double Fantasy</i></a>). The surviving band members added discreet accompaniment; Harrison's doleful guitar is particularly prominent. But the end result still sounded stodgy and elderly and Radio 1 passed on the single altogether, figuring that "Real Love" was much more of a Radio 2 record.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Nonetheless, get past that and you enable a fascinating peek into what most people still consider the group's apex, 1965-7 (with problematic bits of early '68 tacked on). Most of <i>Anthology 2</i> consists of alternate takes, and while it is sobering to be reminded how much they needed George Martin to bring sparkle to their songs - "Only A Northern Song" in particular sounds rather marooned and grumpily self-pitying without all the sound-effects and free jazz blowing added on later - it is also refreshing to hear how well they worked together as a group.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">"I'm Down," for instance, has a storming vocal from McCartney which nearly cuts the released take (despite his pained cries of "plastic soul!" at the end). I will take the inclusion of the flute-free "You've Got To Hide Your Love Away" as a knowing nod to <a href="http://nobilliards.blogspot.com/2021/06/oasis-whats-story-morning-glory.html">Noel Gallagher</a>. Of the previously unreleased songs, Ringo does his weary best on "If You've Got Trouble" ("Oh, rock on, <i>anybody</i>!" he exclaims halfway through) but the band doesn't quite nail the song down, while "That Means A Lot," with McCartney on lead vocal, sounds recorded in the midst of a blizzard - the band subsequently opted to give the song to P. J. Proby to record.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">One of the loveliest things of the 1965 edition of The Beatles was that they were still willing to do workaday television shows like <i>Blackpool Night Out</i>. The four songs from their second appearance on the show, recorded at the beginning of August of that year, find them in fabulously friendly form - Harrison introduces the solo public premiere of Paul's "Yesterday" in the style of <i>Opportunity Knocks</i> (fittingly, since that show's arranger Bob Sharples was also to hand on the show and provided the string backdrop).</p><p style="text-align: justify;"> </p><p style="text-align: justify;">This was all within a firmly mainstream showbiz <i>milieu</i>; the show's hosts were Mike and Bernie Winters, and other guests included Pearl Carr and Teddy Johnson, and Lionel Blair and his company of dancers. In that context, "I Feel Fine," "Ticket To Ride" and "Help!" must have sounded like "White Riot." We have already heard Paul's initial dry run through "Yesterday," which is plainly a work in progress (two lines of lyrics are transposed), but his Blackpool reading of the song (performed at the long-demolished ABC Theatre) was something of a sensation at the time, and you can certainly sense the excitement patiently running through the screaming core audience, who sit down, listen and empathise.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Barely a fortnight after that, the band were onstage at Shea Stadium, but even that atmosphere can't coax the Harrison-led "Everybody's Trying To Be My Baby" out of dreariness (and, puzzlingly, it is the only Shea Stadium performance included here - there is definitely far too much of George on this collection as a whole, and not nearly enough Ringo). There follows a fairly brisk run through the <a href="http://nobilliards.blogspot.com/2009/06/beatles-rubber-soul.html"><i>Rubber Soul</i></a> era; both "Norwegian Wood" (despite Harrison's audibly inept sitar playing) and "I'm Looking Through You" are punchier than the album originals, but one must draw a diplomatic veil over "12-Bar Original," mercifully edited down from over six minutes, in which Harrison gamely attempts to be Clapton (one thing you should never have expected The Beatles to be is "authentic").</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Of the <a href="http://nobilliards.blogspot.com/2009/07/beatles-revolver.html"><i>Revolver </i></a>material featured, all of it was worked into infinitely better finished shape. This "Tomorrow Never Knows" sounds almost insultingly indie (or even borderline Madchester baggy), with its weedy organ drone (one could be listening to the Mock Turtles, or My Jealous God). "Got To Get You Into My Life," minus the horns and propulsion, not to mention a finished lyric, sounds like a below-par Georgie Fame album-filler (though it's instructive that the organ-dominant soundtracks to both songs put me firmly in mind of Brian Wilson - this is nearly a <i>Smiley Smile</i> remix of <i>Revolver</i>). "And Your Bird Can Sing" simply proves just how great a pop group they were, despite all of them collapsing in fits of giggles throughout. "Taxman" - Neal Hefti via Allen Toussaint - sounds angrier. "I'm Only Sleeping" sounds drowsier, but you are never left in doubt how absolutely terrific the four of them, playing together, were at this peak.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Just to underline that point, the first half of <i>Anthology 2 </i>concludes with two songs recorded live at the Budokan - and they certainly clear a path for Cheap Trick. Despite all the talk about lousy sound and performance quality, this doesn't pan on audio evidence; the band are in tremendous technical form on both the Chuck Berry cover and the tricky "She's A Woman," the latter of which works up a head of steam comparable to that of "Surrender" a dozen or so years later.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">They sound like the happiest and the best band in the world.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">* * * * * *</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">However, as Oscar Wilde noted, happy endings only happen when you're not told the rest of the story.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">There are, if you choose to find them, twenty-seven takes of "Strawberry Fields Forever," all entirely different. Only a few of them are represented on the montage offered here, but even that is sufficient to gain a good working idea of how the best band in the world decided to break the mould of pop, and they did, stop bullshitting me with your meticulously cynical hindsight.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">You hear how the song patiently evolves from a simple acoustic guitar meditation; in Lennon's early "cannae do it" hands, it sounds like a folk roundelay from two centuries before (actually, what it sounds like is Donovan, and that is a great thing so shut up), pensive and timeless. Then this strange keyboard called the Mellotron pops up, and the tempo becomes one of sultry tropicalia (with Harrison's lead guitar instantly recalling Hank Marvin - perhaps this represents the endgame of <a href="http://nobilliards.blogspot.com/2012/07/the-shadows-20-golden-greats.html">"Wonderful Land"</a>). The song is sung dazed with wonderment, but straight, with one verse leading directly into the others, and is given a very simple but profoundly moving Mellotron coda. One can still listen to that first studio take and be driven to tears, thinking of the potential futures which we know all got sealed off and closed down, the other paths The Beatles, or indeed we, could have pursued.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Then the more familiar sound of what is labelled here as Take 7, which forms the first minute or so of the final single mix, but here continues to drift into subtly different waters. All the way through, Lennon's determinedly confused I-am-what-I-am-but-am-I-me philosophising (a typically Libran lyric, as Lena pointed out) gently pushes pop music outwards; unthinkable without Dylan but also, at the time, arguably unmatched by Dylan (<i>The Basement Tapes</i> were yet to be recorded), and markedly less thinkable without the contemporaneous catalyst of Brian Wilson (think of "Wonderful"). We also get the unedited final dissolve, with cranberry sauces and Ringo being urged to calm down.<br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">There is no need for me to be hypocritically cynical about what was the second pop record I clearly remember hearing (and watching its video on <i>Top Of The Pops</i> - the first record was "I Feel Free" by Cream) in the only chance I get to talk about it on <i>Then Play Long</i>. Both sides of that single formed me in ways which continue to have consequences. The record changed shit forever. "Penny Lane," here broken down into its components and with its radio ending, is if anything more disturbing in its refracted cheer than "Strawberry" - but don't take my word for it; Lena has written, with typical excellence and vision, <a href="http://musicsoundsbetterwithtwo.blogspot.com/2011/10/only-everything-beatles-penny-lane.html">about </a><a href="http://musicsoundsbetterwithtwo.blogspot.com/2011/10/you-are-free-beatles-strawberry-fields.html">both</a>.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">It changed something crucial in the dynamic of The Beatles, too. "Sugar plum fairy, sugar plum fairy," mumbles John as an introduction to their greatest song, which here sounds like a reticent, even in part bashful (and certainly <i>baleful</i>), meditation on lives passing, things happening and perceptions changing. Lennon seems full of regret here, while Paul in his section is perhaps a little too gleeful ("Oh, shit!" he laughs as he fumbles a line). It is this hidden nook into which you sense they do not quite want you to peek, for fear of what you might find. The ill-fated Mal Evans enthusiastically does the echoed count-up, at this point over a bare backing track; the orchestra, curiously reminiscent of John Barry, swells up steadily, but instead of that final note you hear Paul in an ambient whirlpool, chatting about the difficulties of putting the song together.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Anyone wanting to be sneery about <a href="http://nobilliards.blogspot.com/2009/08/beatles-sgt-peppers-lonely-hearts-club.html"><i>Sgt. Pepper</i></a> can simply go and do one. Such people prefer not to realise how radical and comprehensive a citadel it was in its time - and yet the record was still, if in places only just about, the work of an integrated group of players. Here "Lucy" and "Kite" are enthusiastic warm-ups, and "Good Morning Good Morning" is a dynamic punk thrash - they hadn't mislaid their chops at all. But its whole, <i>in its original context</i>, was indisputably greater than its sums. <i>Piper At The Gates Of Dawn</i>, work on which began, at Abbey Road, as the work on <i>Pepper </i>was ending, is perhaps a compromise that doesn't adequately convey the semi-trammelled power of its creators onstage, but <i>Pepper </i>was only what it was - the reprise of the title song, which Hendrix performed on stage in London three days after the album came out, is messy but clearly enthusiastic in a "yay, we're nearly ready!" gallus (as we Glaswegians say) manner.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">The major stumbling block here is the absence of "Carnival Of Light," which was pulled from the album at the last minute following objections from others, chiefly Harrison. This is perhaps the great gaping hole in any Beatles discography, and dull instrumental backing tracks for "Eleanor Rigby" and "Within You Without You" (which were brought in as last-minute replacements) do not compensate for its omission. It may well be thirteen minutes of aimless collaging and general mucking about (we have no way of knowing for sure - what turn up on YouTube are, at best, educated guesses) but don't we have the right to listen to it and make our own judgements (Tim Worthington writes well and fully about the piece <a href="https://timworthington.org/2019/06/30/can-we-hear-it-back-now/">here</a>)? Perhaps next time I bump into Sir Paul at Sounds Of The Universe I'll ask him about it.<br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Furthermore it may be argued that "Carnival" might form the great bend in the Beatles river - because what we hear in the last quarter of <i>Anthology 2</i> really doesn't sound like the work of a group. All of it was conceived and recorded after Brian Epstein had died, and suddenly the old camaraderie has fallen away, been stripped from the band's chassis. Lennon's "Walrus," which is basically just him yelling over a distorted electric piano, with Ringo manfully drumming behind him, sounds like a cry of bereavement. As for Paul's work, it's all very worthwhile stuff, but nowhere do you feel that "Fool On The Hill" or even "Hello, Goodbye" has much to do with "The Beatles"; if anything, these songs point to the seventies and Wings (there is a fairly firm line of development from "Fool On The Hill" to "Let 'Em In"). John is, likewise, left on his own, and on the closing "Across The Universe," he sounds as throatily exhausted as he had done on the guide vocal to "Yes It Is" near the beginning of this collection, and not at all far away from the lonely compromise of "Real Love." 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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
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<![endif]--><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">™</span> chaff - you think you love, or even know, the Fabs? Well, love this fuck-you-history romp, which not only points the way most directly to the seventies, given the obvious Bonzos/Python signposts, but finds the quartet in their natural element, irradiated by that vital irreverence. Having a laugh - remember that?<br /></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-27240835983479972202021-06-09T10:58:00.002+01:002022-09-18T10:29:58.876+01:00Céline DION: Falling Into You<p style="text-align: justify;"></p><p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://upload.wikimedia.org/wikipedia/en/c/c2/Falling_into_You.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://upload.wikimedia.org/wikipedia/en/c/c2/Falling_into_You.png" width="300" /></a></i></div><i><br /> </i><p></p><p><i> </i></p><p><i>(#544: 23 March 1996, 1 week)</i></p><p style="text-align: justify;"> </p><p style="text-align: justify;"><b>Track listing: It's All Coming Back To Me Now/Because You Loved Me/Falling Into You/Make You Happy/Seduces Me/All By Myself/Declaration Of Love/(You Make Me Feel Like A) Natural Woman*/Dreamin' Of You/I Love You/If That's What It Takes/I Don't Know/River Deep, Mountain High/Call The Man/Your Light*/Fly</b></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><i><b>(*on European and Australian CD editions only)</b></i></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">If Elvis had lived, he'd have recognised Céline Dion as his true heir. Just as Elvis, after he was presented with "If I Can Dream," swore that never again would he sing a song in which he did not thoroughly believe, there is absolutely no face or pretence about Mme Dion, no diplomatic screen to block or dilute her intimate intensity.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Her approach is almost the diametric opposite of Mariah Carey's. Where <a href="http://nobilliards.blogspot.com/2021/05/mariah-carey-daydream.html"><i>Daydream </i></a>saw her strive to flee the towering shadow of her husband - shades of Susan Alexander assembling jigsaws at Xanadu - Céline wants to you to know that she is blissfully happy, that she means that happiness, and that she wants no more than to hold onto that happiness for as long as possible. Listen to the mutated doo-wop of "I Love You," the way in which she plays vocal tennis with her backing singers ("And maybe I, maybe <i>you</i>!, maybe you!, maybe <i><b>you</b></i>!"), the birthday party exhilaration which floods like the centre of a stick of Blackpool rock down and along her "River Deep, Mountain High."</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Observe the winking pop-reggae bounce of "Make You Happy" or the upbeat pink lollipop of "Declaration Of Love," so reminiscent of early Madonna, before the world and Madonna did things to her ("so right you <i>taste </i>my <i>sweeeetness </i>on your lips!," "I'll make it better than you ever <i>dreeeeeeeamed</i>!!"). This is the voice of a woman who has got everything, and everyone, she needs to feel fulfilled, so if her "Natural Woman" doesn't quite match up to Aretha's authority (but what does?) or Carole King's routed fragility, it is nevertheless a powerful declaration of love principles.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Yet, as in all good stories, there abide doubt and dread. "Falling Into You" is a mysterious float, possibly inspired in part by "In The Air Tonight" but replacing Collins' ingrained paranoia with a lucid litheness, a blue absence of weight or depth which really doesn't place the song and its arrangement far from shoegazing. Within the song's fibres, carefully policed by guest percussionist Sheila E., Céline whispers that "while you sleep, I will miss you." The song had been recorded the year before by the Argentinian singer Marie-Claire D'Ubaldo; it is a complex song, with plenty of half-tones (<i>pace </i>Brecht), and initially the singer felt the arrangement was a little too forward and drowning out the song's core. She suggested some modifications to help bring out the song's emotions more readily, all of which were happily accepted by co-writers and co-producers Rick Nowels and Billy Steinberg, and discovered, perhaps to her own surprise, that she could maintain a high level of control over her music.<br /></p><p style="text-align: justify;"> </p><p style="text-align: justify;">Similarly there is a pent-up desperation about "Seduce Me," co-written and co-produced by Dan Hill of "Sometimes When We Touch," and its harmonic parallelogram and guitar commentary, let alone the soaring, not-quite-of-this-world vocal, would not be out of place on side two of the Cocteau Twins' <i>Treasure</i>.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Where needed, she will rock, and Aldo Nova's triptych of songs ("Dreamin' Of You," "I Love You," "Your Light") ensures that she does, as well as demonstrating a pleasing sense of humour in places; in "Your Light" her voice at times sounds like <a href="http://nobilliards.blogspot.com/2020/11/guns-n-roses-use-your-illusion-ii.html">Axl Rose</a>.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">But there is also a deep well of impermanence. Diane Warren apparently wrote "Because You Loved Me" with her father in mind, since he helped get her started with music when she was still a child, buying her a 12-string guitar on which to write songs and a metal shed in which she could practise doing so, as well as taking her to various music auditions; I am not quite clear whether David Warren was still alive at the time of the song's conception, but its "Wind Beneath My Wings" homilies are undercut by the rather sinister use of the past tense ("<i>loved</i>") which I am sure was intended. I have no doubt that, for her part, Céline was singing the song with René in mind. As I say, there is nothing in Céline's songs that she does not <i>believe</i>.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">We know from "I Don't Know" - one of three revisited songs from her 1995 French language album <i>D'eux</i> (the others being "If That's What It Takes" and "Fly") - how starkly cold and bereft she would be were her love ever to disappear (she piles on the rhetorical "I don't know"s like a calmly frantic poker player, constantly upping the stakes), but her "All By Myself" set new standards for pop laments.</p><p style="text-align: justify;"><span style="font-size: small;"><br /></span></p><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">
Reaching back to the original, it is odd how power pop, for all its alleged purity and perfection,
never really became popular. Myself, I think it’s the charts’ loss, but the
fact remains that when most people think of Alex Chilton they think of “The
Letter” rather than <i style="mso-bidi-font-style: normal;">Sister Lovers</i>, to
which “All By Myself” makes an unlikely companion. The song also reminds us of
the age-old tradition of writing pop songs based on classical pieces; Barry
Manilow had a <i>Billboard </i>top ten hit with his Chopin adaptation “Could It Be
Magic” and then it was the turn of Rachmaninoff.</span></div><span style="font-size: small;">
</span><div style="margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-size: small;"><br /></span></div><span style="font-size: small;">
</span><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">
Again it is instructive to listen to the full
seven-minute-plus album version of “All By Myself” since the long piano
interlude in the song’s middle was actually the first thing that came to Eric
Carmen’s mind. Working backwards, he then figured that the second movement of
Rachmaninoff’s <i style="mso-bidi-font-style: normal;">Piano Concerto No. 2 in C
minor</i> – “<i style="mso-bidi-font-style: normal;">Adagio sostenuto</i>,” no
less – would form a good basis for the song’s verses, while the chorus was
informed by, but did not slavishly mimic, “Let’s Pretend,” a song which he had
written for his old band the Raspberries in 1972.</span></div><span style="font-size: small;">
</span><div style="margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-size: small;"><br /></span></div><span style="font-size: small;">
</span><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">
The Raspberries should have been far bigger than they
actually were; their 1974 swansong “Overnite Sensation (Hit Record)” went Top
20 in the States but despite rave reviews and blanket radio play here the song
never caught on in Britain. When “All By Myself” happened Carmen was roundly
condemned as a sellout, which is rather unfair; think of its haunted cloisters
as the expression of someone who lived through and came through the sixties and
everything they promised, just to find disillusionment and a nearly unutterable
emptiness at the end.</span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"> </span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"> </span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">Yet while Carmen's contained hurt still packs a gentle punch, Céline's reading a generation later made the source
of the pain bleed vividly. At times she seems scarcely able to breathe, let alone articulate, her grief - the steel guitar, echoing Hugh McCracken on Carmen's original, covers that pain more than adequately, at least for a while - but eventually it all gets too much and her voice explodes on that “anymooooooo<i>ooooore</i>” key change, erupting through the roof of pop <i>politesse </i>and as wounded an expression of betrayed expectations as pop has ever delivered (producer David Foster presented her in the studio with that unexpected ascension and she was determined to match his dare - no other singer could get anywhere near her).</span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"> </span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">That magic moment - and it is one of the key moments in all of pop music, that key change - cut an awful lot of people very profoundly, in ways usually too profound for pop to realise. Who could possibly take her higher? Jim Steinman?</span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"> </span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">Steinman co-produced three songs on the album; "Call The Man," which, as was common with its writers, Andy Hill and Peter Sinfield (see also Bucks Fizz's "The Land Of Make Believe"), was a political allegory disguised as a right-on gospel song ("Needed in the chaos and confusion/From the plains to City Hall"), a demand for deliverance and salvation, accompanied by a gentle choir which eventually disperses into atoms of near-silence. Steinman also took a crack at "River Deep, Mountain High," and funnily enough that works, mostly because the producer had the good sense to treat it as a runaway rocker and Céline has just about the most fun that she has on this record, racing through its slightly strained analogies with good humour. She has the wit not to try to reproduce Tina Turner's inhuman climactic scream but instead yells out in triumph. The track gladly canters towards a stock-car pile-up. A different wall of sound, but perhaps a more usable one.</span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"> </span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"> </span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">Which leaves us with the album's opening and closing songs. The opening song is the third of the Steinman productions, "It's All Coming Back To Me Now," as originally performed by Pandora's Box on their solitary, Steinman-helmed self-titled album from 1989. It seems like the natural sequel to "Total Eclipse Of The Heart" - that same wind machine, those same sleigh bells, a singer who sounds more weary than thrilled - but if anything the song darkens that scenario into something potentially very morbid.</span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"> </span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"> </span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">Steinman said that it was based on the part of <i>Wuthering Heights</i> which nobody talks or sings about or films - you know, Heathcliff with the gravedigger's spade, dancing on the beach in the moonlight - in terms of resurrecting the dead. Elaine Caswell's original reading certainly leaves little doubt in the listener's mind as to the song's real intent (it is alleged that, while recording the song, Caswell collapsed on five separate occasions in the studio).</span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">With Céline, the song seems more optimistic but remains emotionally ambivalent. Out of the limbo of nothingness which ushers in the song, she sternly itemises all the things she hated about him (with a terrifying growl on the word "banished" in the line "And I banished every memory you and I had ever made") and perhaps about the wider world ("There were nights of endless pleasure/It was more than any laws allow"). But he comes back to her, and she finds that she cannot resist. She misses his moments too sorely, and is that quietude at the end a contented purr or a withered white flag of surrender? The song, as was Steinman's intention, is an extended meditation on obsession - the moment when, on return, one's defiance dilutes to subservience. About the terror, he said, about loss of <i>control</i>.</span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><a href="http://nobilliards.blogspot.com/2021/06/pulp-different-class.html"><br /></a></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><a href="http://nobilliards.blogspot.com/2021/06/pulp-different-class.html"><br /></a></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><i><a href="http://nobilliards.blogspot.com/2021/06/pulp-different-class.html">"What if you never come down?"</a></i></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">The album's final and shortest song is also its least characteristic and most heartfelt song. Originally recorded for <i>D'eux</i> under the title "Vole," "Fly" was inspired by the singer's niece Karine, who died, in the singer's arms, in May 1993 of cystic fibrosis, at no age at all. Everybody who heard it, including the song's writers and producers, was taken aback at how raw and emotional this performance was. It accentuates the cracks which have been building up in Céline's voice right the way through the album and in places her vocal on "Fly" is naught save cracks and whispers. After barely three minutes, the song dissolves, its spirit flies free.</span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">The performance exemplifies why <i>Falling Into You</i> touched so many people, and why, as I suggested at the beginning of this piece, Céline is the natural heir to Presley. She fills that same yearning gap where people want to be told that the singer feels the same as they do about so many elemental things, so much vital stuff that pop generally prefers to leave out. There are no character studies on <i>Falling Into You</i>, no irony, no rallying around the record collection.</span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;"><br /></span></div><div style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: small;">No - this is <i>emotion</i>, as experienced by you, me and everybody else, and as expressed by those whom we would normally choose to guide us. One cannot understand why the likes of Adele and Ariana and Jennifer Hudson will subsequently speak to, and for, the masses, without first understanding how Céline Dion elected to pave the way for them. Remember this was all done at a time when pop, and the power ballad stripe in the middle of its road in particular, were routinely sneered at - and, despite all of that, Céline came through and <i>triumphed</i>, in ways at which Oasis could only ever have imagined doing. <i>Falling Into You</i> moved <i>thirty-two million people</i> across the world...think of that figure for a moment or several...to buy it, 2,170,000 of whom were in Britain. Hers is the spark which lit the flame enabling that phoenix to <a href="https://www.youtube.com/watch?v=QRUIava4WRM">rise again</a>.</span><br /></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-84045670201751880382021-06-08T10:20:00.004+01:002021-06-08T10:20:43.178+01:00The BLUETONES: Expecting To Fly<p style="text-align: justify;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/b/bb/Bluetones_Expecting_To_Fly.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="200" src="https://upload.wikimedia.org/wikipedia/en/b/bb/Bluetones_Expecting_To_Fly.jpg" /></a></div><br /><p></p><p style="text-align: justify;"> </p><p style="text-align: justify;"><i>(#543: 24 February 1996, 1 week)</i></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><b>Track listing: Talking To Clarry/Bluetonic/Cut Some Rug/Things Change/The Fountainhead/Carnt Be Trusted/Slight Return/Putting Out Fires/Vampire/A Parting Gesture/Time & Again</b></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">1995! What a year! The apex of our new golden age!</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">What happens next?</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Oh...<i>1996 does.</i></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Before, it would have read:</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">1967! What a year! The apex of our new golden age!</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">What happens next?</p><p style="text-align: justify;"> </p><p style="text-align: justify;">Oh...<i>1968 does</i>.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">The parallels are clear. Early idealisation gives way to career considerations. No one else follows through on the leaders' perceived innovations, or else retreat from them, afraid of their potential implications. The industry gladly snaps everybody up, only to lecture them if they fail to come up with endless hit singles and then eject them.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">It's like being hired as the C.E.O. of a private equity firm. These engagements generally last twenty weeks. For the first eight weeks the boss says YOU ARE A ROCK STAR! For the next four weeks the boss doesn't talk to you. For the last four weeks the boss says, uh, sorry, but we wanted a rock star, and drops you.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">But if Britpop were to gather any meaningful momentum, there had to be other acts coming through to develop and expand on what its leaders had done. New blood, new ideas, all the time. Unless you consider Britpop as fatal and meaning-free a chimera as Brexit.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">It was 1996. Oasis, Blur and Pulp were busy consolidating their success, touring, releasing singles, hoping to make it even bigger abroad, working, if they could find the time and energy to do so, on new music, none of which would be released in 1996. It was therefore down to the next lot to step up to the plate and all that dreary sporting analogous bollocks.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">The problem was that after those "leaders," the drop to the next level was...<i>significant</i>. It was like following the Premier League with Sky Bet League One. All honest and unthrilling doers at a time when people urgently craved gods who could also be their best mate. I need not emphasise the inherent irony in that observation.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">Hence we stride from the achievements of 1995 and limp into the realm of the underachievers of 1996. This is, I grant, deeply unfair to Hounslow quartet The Bluetones, who throughout their first album try their best; they really do - they do at least work up a Neil Young's Concerned Horse level of steam on "Things Change" and songs like "The Fountainhead" are harmonically inventive (see also the unexpected major-to-minor variants in the chorus of "Vampire"). It is all very well recorded by Hugh Jones.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">The problem is this album would barely have been noticed had it been released three years earlier or later. For all the media hype of the time - even after all that had happened, that white male student <i>NME</i>-reading demographic still seemed to want The Stone Roses - <i>Expecting To Fly</i> is a moderately agreeable but finally utterly routine UK indie guitar-based album being expected (ha!) to punch well above its weight. Yes, I'm squashing a grape with a steamroller, but my point needs to be made.<br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">I need hardly say that there is nothing on <i>Expecting To Fly</i> fit to lick the boots of the Neil Young song which gave the record its title - released on a Buffalo Springfield album, but only Young and Jack Nitzsche's orchestra appear on it. A major problem is the offputtingly weedy and nasal voice of Mark Morriss, securely in that Ian Brown/Tim Burgess tradition of Vicks Sinex singing, and the lyrics generally do not stray beyond routine platitudes and, in the case of women, unpleasantly askew (e.g. "Bluetonic," even if its central lyrical conceit was pilfered from Adrian Mitchell).</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">"Slight Return," which is like Aztec Camera covering "(I Love You) Don't You Forget It," but nowhere near as interesting as that concept might suggest, rose to number two as a single (fittingly kept off the top by "Spaceman" - "it's time to terminate the great white world" indeed) purely because - well, why? Because Chris Evans played it, because a significant British demographic thought that they were still in the middle of something, because the illusion was that "a refreshing return to basic, raw, honest, indie guitar rock" was what the nation was crying out for. Again, that title; if you're going to reference the closing track of <i>Electric Ladyland</i>, you're going to have to be as good as it, or better it. Too much suffocating respect for Received Rock History.<br /></p><p style="text-align: justify;"> </p><p style="text-align: justify;">Meanwhile, that summer in Canada, Sloan released <i>One Chord To Another</i>, a genuinely powerful and provocative guitar-based pop album whose best songs ("The Good In Everyone," "Everything You've Done Wrong," "The Lines You Amend") frankly ride The Bluetones roughshod. But Chris Evans didn't play Sloan or invite them over to appear on <i>TFI Friday</i>, and we British allegedly knew better, so you probably still haven't heard them, or that record.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">What happens after freedom?</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Oh...<i>marketing does</i>.<br /></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-9528061313415364512021-06-07T10:32:00.001+01:002021-06-07T10:32:11.422+01:00ROBSON & JEROME: Robson & Jerome<p style="text-align: justify;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/5/5d/Robson_%26_Jerome.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="312" data-original-width="318" src="https://upload.wikimedia.org/wikipedia/en/5/5d/Robson_%26_Jerome.jpg" /></a></div><br /><p></p><p style="text-align: justify;"> </p><p style="text-align: justify;"><i>(#542: 25 November 1995, 7 weeks)</i></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><b>Track listing: Unchained Melody/Daydream Believer/I Believe/The Sun Ain't Gonna Shine Any More/Up On The Roof/I'll Come Running Back To You/(There'll Be Bluebirds Over) The White Cliffs Of Dover/Amazing Grace/If I Can Dream/This Boy/Love You Forever/Little Latin Lupe Lu/Danny Boy</b></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">As we end this superficially remarkable year of 1995, we are forced to face some rather inconvenient truths. One is that, despite being comfortably outperformed over subsequent years by <a href="http://nobilliards.blogspot.com/2021/06/oasis-whats-story-morning-glory.html"><i>(What's The Story) Morning Glory?</i></a>, this was the year's biggest-selling album within the boundaries of that year alone. In his book <span><i>The Creation Records Story: My Magpie Eyes Are Hungry For The Prize</i>, the late David Cavanagh refers to the single of "Wonderwall" being kept off number one by the double-sided "I Believe" and "Up And The Roof," performed by a couple of reluctant television actors whose appeal, says Cavanagh, broached a middle-aged female demographic which even Oasis couldn't reach.</span></p><p style="text-align: justify;"><span><br /></span></p><p style="text-align: justify;"><span>Nor, for that matter, could The Beatles. Their <i>Anthology 1</i> collection, complete with a rebooted Lennon demo fragment which had been cast as "the new Beatles single," had been designed as the number one to crown or climax that Britpop year. It was kept at number two by Robson & Jerome. Perhaps that was as much of a humiliation to some as "Release Me" holding "Penny Lane" and "Strawberry Fields Forever" off the top - even though the records of Engelbert and Robson & Jerome were largely bought by the same people.</span></p><p style="text-align: justify;"><span><br /></span></p><p style="text-align: justify;"><span>Interestingly, <i>Robson & Jerome</i> and <i>Anthology 1</i> have one song in common; "This Boy," originally the B-side of "I Want To Hold Your Hand" and one of the band's many attempts at the time to convey their underlying wholesomeness to their fans' parents. The difference is that The Beatles travelled beyond "This Boy," whereas this collection, or at least one of the people behind it, would prefer you to believe that this is where they end - lovable cuddly moptops who never met Dylan, never took drugs, never went weird.</span></p><p style="text-align: justify;"><span><br /></span></p><p style="text-align: justify;"><span>It was clearly part of the overall plan by the A&R man at RCA, an ambitious fellow named Simon Cowell, to recast the history of popular music such that "rock" never happened. Cowell it was who watched the episode of the ITV drama <i>Soldier Soldier</i>, where Robson Green and slight Patrick Allen-lookalike Jerome Flynn deputised for an AWOL wedding reception band at the last minute; billing themselves sardonically, and almost apologetically, as "the Unrighteous Brothers," they launched into "Unchained Melody" and, because this is television, gradually won the audience over.</span></p><p style="text-align: justify;"><span><br /></span></p><p style="text-align: justify;"><span>The ITV switchboard was bombarded with queries as to where a record of that "Unchained Melody" could be obtained. Cowell immediately saw the giant commercial potential and spent four months trying to persuade the two actors to sign a recording contract. They were highly reluctant to do so; at one point Robson Green even threatened legal action to stop what he perceived as harassment. But eventually, and probably with the success of Jimmy Nail in <i>Crocodile Shoes</i> fresh in their minds, they agreed to give it a go. Mike Stock and Matt Aitken (but, significantly, not Pete Waterman) produced a single of "Unchained" and "White Cliffs Of Dover."</span></p><p style="text-align: justify;"><span><br /></span></p><p style="text-align: justify;"><span>The single was an immediate and immense success, staying at number one for seven weeks, famously keeping, amongst other singles, <a href="http://nobilliards.blogspot.com/2021/06/pulp-different-class.html">"Common People"</a> at number two, and outselling every other single released in Britain during the nineties with the exception of "Candle In The Wind 1997." Its success is easy to understand; its release coincided, I am certain on purpose, with the fiftieth anniversary of VE Day, and it touched some very raw nerves in that substantial majority of the British public who didn't give a damn about being cool, or hip, or about much of anything after around 1954.</span></p><p style="text-align: justify;"><span><br /></span></p><p style="text-align: justify;"><span>Watching the videos for the songs makes things even clearer. In <a href="https://www.youtube.com/watch?v=8fgUY-kXlBA">"Unchained,"</a> the two performers take an ancient, monochrome stage in front of an elderly and sceptical 1940s audience. They fumble with their microphones and that provokes laughter; the audience think they are a comedy duo. But then they sing the song, as seriously as they can muster, and we are taken through a transposed tableau of various forties film scenarios, quite deliberately organised (as is the musical arrangement, with its Pavlovian climactic synthesised bells) to provoke memories beyond the reach of pain. As the song ends, the duo fade into colour and, with the lights up, see that the auditorium is empty; they have been playing to ghosts.</span></p><p style="text-align: justify;"><span><br /></span></p><p style="text-align: justify;"><span>Yet this is not a menu of straightforward nostalgia. The video for <a href="https://www.youtube.com/watch?v=fkim-WGXumk">"White Cliffs"</a> commences with some emotional bombing footage from the Blitz - the wound which Britain does not want to heal - but, halfway through, both song and video take a somewhat unexpected left turn. Over an increasingly intense refrain of "just you wait and see," we see footage of Martin Luther King intoning those four words, of the freed Terry Waite, the freed Mandela and the demolished Berlin Wall, before zooming out on a picture of the Earth, floating in space. The message is that cosy war nostalgia is not enough - we have to make this peace work and last beyond our memories. It is a lesson more people should clearly have taken to heart.</span></p><p style="text-align: justify;"><span><br /></span></p><p style="text-align: justify;"><span>Both Green and Flynn are ardent socialists, of my (and Jarvis Cocker's) generation - they are, in delivery and stance, just a hair's breath away from being indiepop - and in their various videos they are usually agreeably approachable and self-deprecating, as though fully aware of the absurdity of the enterprise, yet still wishing somehow to pierce that deep blue wall of absurdity. Hence the video for <a href="https://www.youtube.com/watch?v=b74A7BP6Rvo">"I Believe,"</a> which sees them onstage in a semi-derelict working men's club, wearing singularly ill-fitting gold </span><span><span><i>lamé</i> jackets (the fate which Martin Fry's Worried Man endeavours to avoid?) and wondering out loud if they'd ever seen so many dead people gathered together in one place. But then they sing the song, which once served as a Korean War beacon, and somehow the crowd stir, and are, almost despite themselves, moved. A gospel choir inexplicably materialises briefly on the stage, but perhaps they too are ghosts. We, the audience, are being dared <i>not </i>to believe (for an interesting comparison, see the climax of Mike and Kate Westbrook's short television film from 1983, <a href="https://www.westbrookjazz.co.uk/pictureshow/June2020.shtml#Hotel"><i>Hotel Amigo</i></a>).</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span>Hence there is something more intriguing at work here, perhaps as much of an intrigue as <i>TPL 1995</i> has to offer. This is not to say that the album is a particularly good one. The voices are efficient but indie-weedy - at times the record comes across as a <i>C86 Plays The Big Hits</i> exercise (or perhaps one of those Embassy cheapo compilations trying its best to be Peter and Gordon - whose 1965 recording of "True Love Ways" is the secret ancestor of all of this - or The Bachelors). The musical backing is, shall we say, functional; every expense has obviously been spared. The enterprise is not up to the emotional bipolarity required by such songs as "The Sun Ain't Gonna Shine Any More" or "If I Can Dream." Not everything here is obvious; "I'll Come Running" is a seldom-heard Sam Cooke song, "Little Latin Lupe Lu," if not exactly the Righteous Brothers, let alone Mitch Ryder and the Detroit Wheels, comes as an askew nod to the ideations Rob Fleming harbours throughout the then year-old <i>High Fidelity</i>, and "Love You Forever" was a cover of a song originally performed by a Bristol-based girl group called The Shrinking Violets, who turned up at the studio one morning to audition for Cowell, who in turn invited them to contribute backing vocals to the album. One of their members was Anna Jacobs, now best known as an artist and designer (Anna Jacobs Design).</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span>The duo perhaps cut deepest on the folk songs older than any of us. "Danny Boy" is an unexpectedly sombre album closer, with its intimations of war and mortality, and is handled as sensitively as the singers can handle it. I noted the YouTube comments about this version being played at the funerals of grandparents. And then there is the weightless drone of "Amazing Grace," the square root of so much pop, sung seemingly on a forgotten Tyneside doorstep prior to demolition - a folk song, for common people, people who, in 1995, were hurting, needing reassurance. <i>Robson & Jerome</i> is not by any means a great album; I concur with Tom Ewing's <a href="http://freakytrigger.co.uk/popular/2013/06/robson-and-jerome-unchained-melodythe-white-cliffs-of-dover/">conclusion </a>that, after the war ended, television was always going to end up a far bigger societal catalyst to this country than pop. But its message hit so many otherwise forlorn mid-nineties guts that it cannot be smugly dismissed. Up on the roof, you are away from the pain and rage - but you can still see <i>everything</i>.<br /></span></span></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-70446411955629720352021-06-04T10:28:00.002+01:002021-06-04T10:30:55.220+01:00QUEEN: Made In Heaven<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/0/03/Madeinheaven.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://upload.wikimedia.org/wikipedia/en/0/03/Madeinheaven.jpg" /></a></div><br /> <p></p><p style="text-align: justify;"><i> (#541: 18 November 1995, 1 week)</i></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><b>Track listing: It's A Beautiful Day/Made In Heaven/Let Me Live/Mother Love/My Life Has Been Saved/I Was Born To Love You/Heaven For Everyone/Too Much Love Will Kill You/You Don't Fool Me/A Winter's Tale/It's A Beautiful Day (Reprise)/Untitled track (a.k.a. Yeah)/Untitled track (a.k.a. 13 - appears only on CD and 2015 remastered double-LP editions)</b></p><p style="text-align: justify;"> </p><p style="text-align: justify;">Want further confirmation that all rock critics stink? I just looked at some <i>NME </i>album reviews from 1973, posted by Rob Chapman on Twitter (via Daniel Ruggero on Facebook), which included ignorant and borderline-homophobic putdowns of the first albums by Cockney Rebel, Jobriath and Queen, "written" by three "renowned" critics (two of whom are now deceased, so I shall not name names, out of a level of respect which the music critic default mindset would never recognise).<br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Actually, strike out that "borderline"; homophobia is a staple of manly rock writing - it's there eleven years later in the <i>NME</i>'s "review" of Bronski Beat's <i>The Age Of Consent</i>, and appeared as recently as last week, in relation to Kele Okereke's <i>The Waves Pt. 1</i> (accompanied by closet racism; can't have those *pp*ty blacks have opinions, can we, CHAPS?).</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">It would consequently be so easy for me to stamp an aggressive boot on the final Queen album, as they were once constituted, and I'd probably get five hundred hits an hour if I did that. Let me instead give the record a quick and relatively considered overview. The genesis of <i>Made In Heaven</i> lies in the aftermath of the sessions for <a href="http://nobilliards.blogspot.com/2016/12/queen-innuendo.html"><i>Innuendo</i></a>, when Freddie Mercury, conscious of the little amount of time he had left, recorded as many vocal tracks as possible, with clear instructions to the rest of the group to get these songs finished, if necessary posthumously.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">In 1993, May, Deacon and Taylor reconvened, with producer David Richards, to see if they could make an album out of what Mercury had left them. Unfortunately the songs and vocals which he had bequeathed were insufficient to make up a full-length album, so the four looked into reworking other, older material, including reworkings of a couple of songs from Mercury's 1985 solo album <i>Mr. Bad Guy</i> ("I Was Born To Love You," here turned into a scorching, guitar-heavy rocker, and "Made In Heaven"), revisits of odds and sods from various corners of Queen's career, chiefly the eighties edition, and a few new songs, including Mercury's "Mother Love," which here samples a snatch from the cover of Goffin and King's "Goin' Back" recorded in his Larry Lurex days.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">What else is there to say? "A Winter's Tale," the last complete song which Mercury wrote, is a much better Christmas song than "Thank God It's Christmas." "Mother Love" ends with what is apparently a speedy pile-up of every song Queen ever recorded, culminating in the sound of a baby crying. The second "It's A Beautiful Day" is more forceful than the first, and climaxes with a sample from "Seven Seas Of Rhye"; the memorial intent is palpable. "You Don't Fool Me," assembled from bits and bobs of incomplete Mercury words and vocal ad-libs, is a splendid electro-House workout and a direction the band should perhaps have pursued more avidly after <i>Hot Space</i>.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">In its generally upbeat and optimistic nature, despite some of its song titles, <i>Made In Heaven</i> was a brighter farewell to Mercury's Queen than <i>Innuendo </i>had been. For me it's a little too polite and polished, but it does its job of remembrance pretty efficiently. Of the untitled tracks at the end, "Yeah" is a four-second snippet of Mercury saying the word "yeah," while the twenty-two-and-a-half-minute drones of "13" could be intepreted as David Richards mucking about with a sampler and some Mercury vocal lines, though its broad birth-death-transfiguration sequencing doubtless continues to prove inspirational to many. There's a bet-hedging review for you. Better than a bunch of fucked-up old music journalism "legends" trying to find excuses not to nail their heads to the floor, though, eh?<br /></p><p> </p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-40363946739561691392021-06-03T12:36:00.001+01:002021-06-04T15:07:44.835+01:00PULP: Different Class<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/e/e1/Pulp_-_Different_Class.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="316" src="https://upload.wikimedia.org/wikipedia/en/e/e1/Pulp_-_Different_Class.PNG" /></a></div><br /><p></p><p style="text-align: justify;"> </p><p style="text-align: justify;"><i>(#540: 11 November 1995, 1 week)</i></p><p style="text-align: justify;"><i> </i></p><p style="text-align: justify;"><b>Track listing: Mis-Shapes/Pencil Skirt/Common People/I Spy/Disco 2000/Live Bed Show/Something Changed/Sorted For E's & Wizz/F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E/Underwear/Monday Morning/Bar Italia</b></p><p style="text-align: justify;"><b> </b></p><p style="text-align: justify;">Had I begun this tale twenty years earlier than I did, then I might have had a very different story to tell about this record. Perhaps this current story will not be too different; I won't know until I've finished writing it.<b> </b></p><p style="text-align: justify;"><b> </b></p><p style="text-align: justify;">However, while <i>Then Play Long</i> centres upon how we feel about particular records now, as opposed to a chimerical "then," to deny my own past would represent a dreary and decimating dereliction of duty. The first piece of music writing that I published online - getting on for twenty years ago now - was <a href="http://freakytrigger.co.uk/ft/2001/12/pulplovelife/">about Pulp</a>. Laura and I <i>loved </i>Pulp. I'm not going to kid on to you that we didn't. They were, by some considerable degree, our favourite band. We saw them at the Shepherd's Bush Empire on 19 October 1995 - the Thursday <i>before </i>this album came out - when they were supported by the long-forgotten art-pop collective Minty (which had previously involved the late Leigh Bowery) and performed a fifteen-song set, including two encores and eight of <i>Different Class</i>' twelve songs. The record wasn't even available yet, but everybody sang along, word-perfect, even to things like "Pencil Skirt" and "Live Bed Show." We emerged from the theatre, jubilant, and at Jarvis Cocker's personal request helped restart his stalled car.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">It was a glorious evening - and it was, for us, a <i>moment</i>, perhaps the apex of this curious phenomenon called "Britpop"; that is, if you don't count their performance at the Theatre Royal Drury Lane on Sunday 18 December 1994, where we heard "Common People" and "Underwear" for the first time, although the evening's biggest hit - inspiring so much dancing that the theatre's ancient balconies were in danger of imminent collapse - was "We Can Dance Again," surely a number one to come (as it turned out, the song didn't make the final cut for the album, presumably because it was thought too similar in structure and approach to "Disco 2000," and it was eventually recorded by the London indie band Spearmint, although Pulp's own demo of the song can be heard on the second CD of the deluxe edition of the album which appeared in 2006).</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">But we had known about Pulp since their first John Peel session in November 1981 (the song "Wishful Thinking" seems to emanate from an entirely different musical universe). They had been the perennial, stalwart underachievers on the British indie scene right through the eighties. As late as October 1991, when "My Legendary Girlfriend" had come out and people were beginning to take serious notice of the band, I saw them third on the bill one Friday at the Town and Country Club, dutifully supporting Slowdive and Catherine Wheel.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">And when they became famous - it was, I think, a foregone conclusion in Cocker's mind that when he came up with the idea for "Common People," this was destined to be <i>his </i>moment - it felt euphorically <i>good</i>. Here, at long last, were a band who spoke for <i>us</i>; the disenfranchised autodidactic intelligentsia. laughed at and openly scorned by people in the street or the supermarket (and by some people in Drury Lane that Sunday evening - no, I haven't forgotten or forgiven you c*nts; why were you even there?), those who were already being denied the lives permitted to boorish others. Oh, I empathised all right, and if Laura were still here she'd tell you the same thing.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">A moment from one of the emails Laura sent to a friend some 2-3 weeks before she died - she talked about Jarvis Cocker being funny, down to earth and genuinely intelligent, as opposed to what she perceived as the schoolboy antics of Oasis; oh look, we're swearing and being loudly controversial, aren't we big and clever?</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">That about sums Cocker and Pulp's wider appeal up. Equally, however, I see with dismay repeated references in the writing of now about that golden age of "Common People," invariably accompanied by stock photos of Cocker as he was over quarter of a century ago, and despair at some people's evident inability just to let go. Really, it is like Lester Bangs encountering the teddy boys of 1977, forever scanning and reliving the old days when they and their culture mattered. As he said about the Lennon mourners in late 1980; it's not him you're mourning, it's your own past.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">With the benefit of our old "friend" Captain Hindsight, I can also glimpse what might be rather patronising views of the working class from the grammar school-educated son of a Conservative councillor. Do "common people" really do nothing but dance and drink and screw? Are the others really "so bleeding thick" (and this is not a new complaint; the previous album's "Joyriders" referred to the protagonists' inability to do anything other than "eat, shit and drink")? And as for "Mis-Shapes"' masterplan to win the war using "our minds," one can view the present carnage and sardonically observe: well, that way of thinking worked out successfully, didn't it, Jarvis (the white-shirted beer-drinkers were always going to have the police, army and media on their side - that is if the whole stance isn't recognised as the chimera it is, engineered by cynical, monied scavengers, most of whom went to Oxford or Cambridge)?</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Nonetheless, to press that point now would taste like the sourest of grapes. How does <i>Different Class</i> stand up as an entity? Cocker took the band into the studio with only two songs ready - "Common People" and "Underwear." He felt it vitally important that the former be released, at least as a single ("Underwear" initially appeared as the B-side), and when it broke as big as it did, Island Records politely asked when the rest of the album would be arriving. In a frenzy of activity, Cocker and the band came up with another dozen or so songs in relatively quick time - possibly reminiscent of <i>What's Going On?</i></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">The album came decorated by pictures of various idealised suburban middle-class scenarios into which lifesized monochrome cardboard cutouts of the band members were inserted. The analogy was clear; they wanted to break into that complacent and otherwise inaccessible world and shake it up a bit. The opening "Mis-Shapes" - coming on like a Broadway musical overture, as I am sure was the intention - makes their mission, and Cocker's immense personal anger, clear. Chris Thomas' production is trebly and compressed but not muddy.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">As for "Common People" - and it has to be listened to in its full-length five minutes and fifty seconds, in context - this song seems increasingly like an Exocet aimed at the rest of mid-nineties mainstream society, let alone its pop. He begins by humouring the Greek student (who appears to have been based on <span>Danae Stratou, the future wife of the former finance minister </span><span><span>Yanis Varoufakis) but becomes increasingly impatient and angry with what he sees as a fatally condescending attitude towards "the lower orders"; in the song's final verse, routinely excised from oldies radio spins, his is a terrifying rage, backed by what sounds like a vacuum cleaner being switched between two speeds. I have caused raised eyebrows in the past by comparing Cocker's singing to that of Bob Geldof (it's there - listen to "Pink Glove") but "Common People" seems like the end stage which the Boomtown Rats could never quite reach - the stagey, practised furrowed brow of "Rat Trap" explodes into a kaleidoscope of, "oh, but you don't know the HALF of it!"</span></span></p><p style="text-align: justify;"><span><span> </span></span></p><p style="text-align: justify;"><span><span>Many still regard "Common People" as the apex of Britpop and <i>Different Class</i> the album which justified the entire movement (if it could so be termed). Yet what seemed so funny at the time - oh, look at daft, geeky Jarvis on "I Spy" making out like he's Intake's Serge Gainsbourg - now sounds positively scary. What the fuck is going on in the pensive, shoegazey (it had to be said) "Pencil Skirt"? Her and <i>both </i>of her parents?</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span>And when we reach the big setpiece "I Spy," one has to wonder <i>what </i>he is fighting against. He seems to loathe both his fancy bit on the side and her unseen, unheard husband with equal intensity. All that matters to him, as he indeed mutters ("It's not a case of woman v. man, it's more a case of haves against haven'ts"). Sidestepping his subtle nod to Morrissey ("except that you're clever swines" - but he is a month <i>older </i>than Johnny Marr), the Anne Dudley orchestration, the Sheffield setting and especially the song title and its setting, can all be regarded as an extreme development of what Martin Fry had suggested on <a href="http://nobilliards.blogspot.com/2013/09/abc-lexicon-of-love.html"><i>Lexicon </i></a>a lifetime earlier.</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span>Perhaps the icily forlorn couple of "Live Bed Show" - the record's greatest song, up, or down, there with "You Don't Bring Me Flowers," "You've Lost That Lovin' Feelin'" and especially "Always Coming Back To You"; never in pop has so much sorrow been poured into the words "seven years ago" - are the same couple being targeted by the protagonist of "I Spy." Is Cocker singing about himself, or does the plaintive voyeurism of "F.E.E.L.I.N.G." and "Underwear" stem from what, of all unlikely forebears, Momus had proposed back in the eighties ("Closer To You," "</span></span><span><span><span>A Complete History of Sexual Jealousy [Parts 17-24]"</span>)?</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span>Pulp were about sex in ways which the rest of Britpop never quite addressed - with the pronounced exceptions of Elastica and Blur (Cocker's subjects here are the same as on "Stereotypes," but not spoken about at one remove). And yet they were also about - if not exactly celebrating failure, then making it a mainstay of their approach. Perhaps the saddest thing about "Disco 2000" is that it's still being played twenty-one years after its time has passed, but its dance gallop barely conceals a bitter self-realisation of the singer's unutterable, premature failure as a functioning human being. He never gets to be with Deborah and, decades later, she has become a wife and mother and he seems to have progressed nowhere. The concluding asides ("What are you doing Sunday," etc.) <span></span>are ineffably tragic (the real Deborah, who was actually Deborah Bone MBE, became a distinguished NHS worker in the field of mental health, and was amused by the song but said that her house was bigger than Cocker claimed and that it most definitely did not contain woodchip on the wall! Sadly, she died of multiple myeloma aged just fifty-one in December 2014, the day on which her MBE nomination was announced).</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span>Returning to the Shepherd’s Bush Empire performance I mentioned at the beginning of this piece: Pulp have just played their then-current single, “Sorted For E's
& Wizz” to a tumultuous reception. After the applause and cheers have
died down, Jarvis reflects aloud to his group having been kept at
number two for the second time that year, “this time by <a href="http://nobilliards.blogspot.com/2021/06/simply-red-life.html">Mick Hucknall</a>.”
Cue loud boos. “He’s a decent bloke, though,” Cocker muses. “Sound
politics.”</span></span></p><p style="text-align: justify;"><span><span> </span></span></p><p style="text-align: justify;"><span><span>“Sorted” was issued as a double A-sided single with
“Mis-Shapes” to pacify nervous radio programmers, but everyone bought
the single for “Sorted” with its brilliant fusion of Ziggy Stardust and
Unique 3, where Cocker dares to suggest that the rave culture might
simply be the newest and most desperate of <i>façades</i>: his final, sobbed
whisper of “What if you never come down?” is one of the most quietly
terrifying endings of any pop song - and that ending's implications will reverberate dramatically in times to come ("Weak Become Heroes" by The Streets outlines exactly what happens to you when, or if, you never come down). "Mates" for a few overnight hours, and then it's "who the hell are you, pal, piss off" premature, greying sobriety. "The scene" is not a substitute for humanity.</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span>"Something Changes," with its arch of a string figure from Anne Dudley which will go on to act as a sort of <i>leitmotif </i>on <i>The Lexicon Of Love 2</i>, represents the only time on the record when Cocker is happy and settled. Even here, he can't stop asking himself pointless "what if" questions, as though this <i>weren't </i>his romantic ideal, but the invisible "she" laughs softly, tells him to quit the pointless pondering and kisses him, and he's finally content with that.</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span>The album's final two songs are linked. "Monday Morning" is a desperate study of untrammelled hedonism which culminates in unearthly shrieks and screams from Cocker, as though experiencing the same nightmare Bowie's brother had all those years ago <a href="http://nobilliards.blogspot.com/2021/02/david-bowie-black-tie-white-noise.html">watching Cream</a>. Finally, its comedown sequel, "Bar Italia," a woozy singalong; it is actual Monday morning, everybody else in the "normal world" (still seeming "very, <i>very </i>far away"), and the Worried Man and his unnamed companion are staggering through the Soho streets, sleep-derived and hungover, attempting to continue living. Despite all of what he said before, he still ends up in trendy Soho. Is his doom sealed?</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span>* * * * * *</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span><i>Different Class</i> is the final "Britpop" album of 1995 (and perhaps of ever) that I'll be writing about, and most people still regard it as Britpop's highest point. It topped that year's <i>SELECT Magazine</i> albums poll, came joint top (with <i>Maxinquaye</i>) in <i>Melody Maker</i> and won the Mercury Music Prize for 1996. It probably spawned as many poor imitations as <i>Closer </i>had done before it. Yet this was chiefly the work of a mind reared on the ethics (or non-ethics) of <i>Closer</i>. Cocker was, at the time, thirty-two years old - only three months younger, and in the long run perhaps somewhat less of a sex symbol, than George Michael - and only very slightly younger than Joanne Catherall and Susan Ann Sulley of the Human League.</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span>Cocker was somebody who had waited an awfully long time to have his pent-up say. Perhaps that's why I identified with him so strongly; it was as if I had made a record in 1995. Where does it stand today, and who really cares? Were I a boxing commentator, I'd survey this year's Britpop albums and remark "I made Black Grape win that round" because, virtually alone, they are having uncomplicated fun and don't give a shit. Sometimes the prize goes to the player or team who need it least.</span></span></p><p style="text-align: justify;"><span><span><br /></span></span></p><p style="text-align: justify;"><span><span>Had I the proper time and resources which this tale deserves, I would bring other significant Sheffield-based albums of 1995 into arenas of detailed comparison - <i>Octopus </i>by the Human League, <i>I Was Born A Man</i> by Baby Bird, <i>Your Majesty, We Are Here</i> by Earl Brutus, to name but three - and would also comment on how close the desired meeting point of "Disco 2000" is to the Coles Corner of which future Pulp aide (but, in 1995, still a Longpig) Richard Hawley would sing a decade later. But it does feel, in retrospect, that <i>Different Class</i> - the double meaning of that title need not be emphasised - marks the end of something. These days that we were so fortunate to have seen and <i>lived </i>through; Jarvis, the days that we have seen!<br /></span></span></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-84280923774660156272021-06-02T11:03:00.001+01:002021-06-02T11:04:48.332+01:00SIMPLY RED: Life<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/5/59/Simply_Red_Life.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="316" src="https://upload.wikimedia.org/wikipedia/en/5/59/Simply_Red_Life.jpg" /></a></div><br /><p></p><p style="text-align: justify;"><i> </i></p><p style="text-align: justify;"><i>(#539: 21 October 1995, 3 weeks)</i></p><p style="text-align: justify;"><i> </i></p><p style="text-align: justify;"><b>Track listing: You Make Me Believe/So Many People/Lives And Loves/Fairground/Never Never Love/So Beautiful/Hillside Avenue/Remembering The First Time/Out On The Range/We're In This Together</b></p><p style="text-align: justify;"><b> </b></p><p style="text-align: justify;">The fifth Simply Red album almost certainly went quintuple-platinum on the back of “Fairground,” a strange candidate for their only number one single, and a
rather more complex opponent than songs “we” sang in the war (see entry #541).</p><p style="text-align: justify;"> </p><p style="text-align: justify;">For a start, “Fairground” is the least typical and most experimental of
all Simply Red singles. Making heavy use of a percussion track sampled
from Dutch dance group the Goodmen’s 1993 top five favela-House hit
“Give It Up” (acknowledged by Hucknall in the line “Let’s make amends
like all good men should," and in the album's credits, where he identifies the primary source of that sample, namely "Fanfarra (Cabua-Le-Le)," the opening track on Sergio Mendes' 1992 album <i>Brasiliero</i>), there are at least two other tempi
superimposed on top of the basic rhythm with a disorientated synth-organ
floating rootlessly around Hucknall’s equally atypical whispered,
vibratoless vocal, which in turn seems to give a very different
perspective on the rave scene, and a noticeably more sinister one, since
the song – I keep thinking of “Driving Away From Home” by It’s
Immaterial for some
what-if-Hucknall-had-stayed-indie-for-a-little-while-longer reason –
appears to concern itself with the singer, either alone or with friends,
driving around endlessly at night, stopping every so often for
“pleasure at the fairground.” The source of this pleasure is located in
the someone who’s always leaving alone.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">Then, in its choruses, the song shifts into a jaunty, Chris Rea-style
motoring salute (but with that House piano persisting amid its jangle): “I
love the thought of coming home to you/Even if I know we can’t make
it,” and while I do harbour some affection towards the record on account
of that first line – very pertinent when you’re returning home,
knackered, on an Oxford Tube coach and trying to persuade the driver of
the 100 bus at George Street that your monthly pass is valid on local services – the
confidence with which Hucknall sings the second line is almost
irrational. “Yes, I love the thought of giving hope to you/Just a little
ray of light – shining through.”</p><p style="text-align: justify;"> </p><p style="text-align: justify;">While I suppose this could be the
record singing to its buyer, the picture becomes clearer; this is a
<a href="http://nobilliards.blogspot.com/2014/03/paul-young-no-parlez.html">“Wherever I Lay My Hat”</a> scenario, the “fairground” a metaphor for a
Simply Red gig, Hucknall meeting the fans backstage and maybe taking one
or two home with him for a one-night stand – but still he remains
rootless when he’s back on the tour bus, and the road stretches forth
with no apparent end. From accounts of the period, and by Hucknall’s own
admission, this would not be farfetched, and not that far from the Rod
Stewart of <a href="http://nobilliards.blogspot.com/2011/01/rod-stewart-never-dull-moment.html">“You Wear It Well”</a> either, but at least he wears his odd
mixture of shame and swagger with considerably more grace.</p><p style="text-align: justify;"> </p><p style="text-align: justify;">The rest of <i>Life </i>is, sadly, a masterclass in eventless centrism. <a href="http://nobilliards.blogspot.com/2020/11/simply-red-stars.html"><i>Stars </i></a>had been an inventive, enterprising and sometimes challenging record, but here Hucknall seems only too happy to be the rootless global wanderer, and everywhere he treads you can hear the squelch of bland broth. He addresses the state of the planet ("So Many People" - "Love is not only for the human"), continued extended political metaphor (the "revolution" at the centre of "Never Never Love") and emotional collapse ("Out On The Range" with its moderately intriguing chord progressions), but Ian Kirkham's multitracked blanket of saxophone security overdoes the smoothness (though the device will be used to rather greater rhetorical effect elsewhere; see entry #549) and the overall picture is that of a rich, if deeply worried, man strolling aimlessly through an endless shopping mall of a Wednesday afternoon.</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><!--[if gte mso 9]><xml>
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Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
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<![endif]--></p><p class="MsoNoSpacing" style="text-align: justify;">Names like Sly and Robbie, Bootsy Collins and Hugh Masekela turn up here and there, but they cannot lift the heat haze of consensual dullness; it is rather absurd that singing in a cod-Jamaican accent was still considered a thing in 1995 ("Hillside Avenue"). The non-committal gloop-filled pomposity of "We're In This Together" convinced FIFA to use the song as their "official" Euro 1996 theme, but England fans weren't fooled and cheerily went for chanting the proudly unofficial "Three Lions" instead. The problem of <i>Life </i>can be summed up by the chorus of "Walk On The Wild Side" <i>deriv</i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><i>é </i>"So Beautiful" - "So beautiful, but oh so boring - I'm wondering if anyone out there really cares." Where be the blood and fire, or were these not considerations any more? The distance from Denton, where Hucknall grew up, to Burnage is nine miles. The aesthetic distance of <i>Life </i>from its <a href="http://nobilliards.blogspot.com/2021/06/oasis-whats-story-morning-glory.html">predecessor at number one </a>seems more like nine years.<br /></span></p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-11058147653009602172021-06-01T13:04:00.004+01:002021-06-06T11:19:27.647+01:00OASIS: (What’s The Story) Morning Glory?<p style="text-align: justify;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/b/b1/Oasis_-_(What's_The_Story)_Morning_Glory_album_cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://upload.wikimedia.org/wikipedia/en/b/b1/Oasis_-_(What's_The_Story)_Morning_Glory_album_cover.jpg" /></a></div><br /><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif";">(#538: 14 October
1995, 1 week; 13 January 1996, 6 weeks; 2 March 1996, 3 weeks)</span></i><span style="font-family: "Times New Roman","serif";"></span></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p>
<p class="MsoNoSpacing" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif";">Track listing:
Hello/Roll With It/Wonderwall/Don’t Look Back In Anger/Hey Now!/Untitled track
(a.k.a. The Swamp Song – Excerpt 1)/Some Might Say/Cast No Shadow/She’s
Electric/Morning Glory/Untitled track (a.k.a. The Swamp Song – Excerpt 2)/Champagne
Supernova</span></b><span style="font-family: "Times New Roman","serif";"></span></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">Let me tell you why we make a fuss.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">We are forced to make a fuss because it's the only way you'll listen to us.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">Because otherwise people like me, who have been meticulously hacking away at the coalface of music writing for nearly twenty years - that's <i>a generation</i> - won't get listened to, or end up getting patronised or belittled, or are made to feel like Alison Moyet does in <a href="http://nobilliards.blogspot.com/2014/06/alison-moyet-alf.html">that song</a> or Arabella Weir in <a href="https://www.youtube.com/watch?v=DE3r_CgScms">that sketch</a> - <i>invisible</i>.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">Because you view us as low-level filth, the shit on the toes of your societal shoes.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">All of you, from schooldays onward - the down-the-nose sneering happened then, oh yes it did, the smug ones with the cosy detached houses in Douglas Gardens and Kylepark, those who probably have still never had to worry about a thing in their lives; oh look, they live in a tenement on the Main Street, they have to order school uniforms through the catalogue, haha fuck off you scumshite.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">Yes, that wacky psycho Carlin and his weird books and weirder music, he's no proud son of the parish, he's going to end up in a bad way, he probably won't make it to twenty-five. From those who were already learning to drive aged sixteen because <i>their parents had cars</i>, I mean excuse me for being born! Not like all we proper middle-class types in the A stream who are being trained to run things, or the factory/office fodder in the B stream who will take our orders, or the no-hopers in C.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">And it didn't end at school and still hasn't ended - everywhere I have tried to get in life has been systematically blocked by the privileged, by those who do not miss the merest opportunity to remind me that I am inferior and should bend my head. That includes empire-building former Eton head boys who begin a music blog and proceed, with their pals, to rub my nose in it, or, as has happened on more than one occasion (Resonance FM, the <i>k-punk</i> anthology), to pretend that I never existed.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">If the shop isn't closed, rest assured that those who run things will rush to close it. A closed shop, <i>everywhere </i>I look. Whether in print or online, the same narrowing circle of names recurs over and over, like Chinese water torture, with all their long-standing mates applauding each other. That stands for music writing as much as anything else; the "pioneers" of the seventies and eighties have pulled up the drawbridge ladder behind them, to ensure that no further generations gain access to their fort, other than the compliant ones who get invited inside.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">Lester Bangs wouldn't stand a fucking chance of getting anywhere now; who'd employ him these days? An individual voice? Perish the thought; it's not "house style," that supreme slayer of character and humanity.<br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">I posted a 100-track, nine-and-a-quarter-hour-long Spotify <a href="https://open.spotify.com/playlist/3W7k7p7fhQSCiHQAulSnLi">playlist </a>last week, outlining all the great music from 1977 that wasn't punk or new wave. To date the playlist has received thirteen "likes." Whereas those who are "better known" online post the most elementary of playlists and get a hundred likes an hour.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">How much longer am I expected to fart against thunder?</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">But yes, I am apparently of the "lower orders." Didn't go to a public school. Went to Oxbridge, too (one of only two pupils in my entire time at school who made it - so at least one of us was serious about getting there, and it wasn't the one my best friend at school thought it was going to be), but that doesn't seem to have made any difference to my life, nor the prizes or scholarship and suchlike. More fool me for being a dullard and working and studying, when I should clearly have been spending my time networking with the "right" people.<br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">So it is that people like me who don't all have it laid out for them have to try harder. We want it more. We want what you are withholding from us - does that sound pre-emptively familiar (see entry #540)?</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">It is a working class thing and as far as this piece of writing goes it's also a Northern Celtic thing. Because what do you do when all the doors are systematically slammed shut in your face on account of who you are and where you came from?</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">If you have it, you use what we in Glasgow call "the patter." That's what got me into Oxford (that plus, admittedly, some actual previous experience of university life, at St Andrews - it does help if you know the territory), not exam grades - they don't give a toss if you have three As and a B or three Bs and an A, they're interested in seeing how you're going to fit into their environment. It's all about the patter. You talk non-stop, off the top of your head, and express what is inside you. Not all that received crap you're expected to express. In other places they call it "chutzpah."</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">The Gallaghers, they have plenty of patter, and Christ how splendidly they use it (still). Won't let us in, Scene That Celebrates Itself? Fine...we'll just break the door down and upend your complacent little set-up. You music papers who sneered at us because your middle-class student demographic wants evasive artiness rather than direct communication - well <i>FUCK </i>you, you don't matter (never did - I remember the late seventies when they all wanted their arty pet mascot Howard Devoto to become a star, and how dare <a href="http://nobilliards.blogspot.com/2012/11/gary-numan-pleasure-principle.html">Gary Numan</a> from Hammersmith overtake him on the outside populist lane!).</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman","serif";">They sneered at the second Oasis album too, and no I'm not going to get all sodding Captain Hindsight revisionist and pretend to be all cleverly detached from the <i>Morning Glory</i> experience. They got the album title from the movie of <i>Bye Bye Birdie</i>, whose authors got it from Mary Lou Williams, but what is this, the ground floor of the </span><span style="font-family: times;"><span>Naismith Memorial Basketball Hall of Fame?</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span> </span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>Who couldn't identify with that cover, taken at about 4:30 a.m. in an empty Berwick Street, the sun rising and everything reeling with hope and promise? It felt, as did Oasis in general, like a <i>fresh start</i> (whereas the primary function of <a href="https://nobilliards.blogspot.com/2021/05/blur-great-escape.html"><i>The Great Escape</i></a> may perhaps have been to help bury the old order of things), a start which those whose profession is to hate "us" could never understand (see also the preferential treatment given out to Luke Haines, the Howard Devoto of the nineties).</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span><br /></span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>Because the sunrise of <i>Morning Glory</i> rose over and cut through <i>everything</i>. It's no accident that the title track, "Champagne Supernova," "Roll With It" etc. sound like folk songs since that is basically what they are - updated, furiously compressed jigs. Theirs is a far more populist take on the we're-here-for-YOU contemporary folk groups like the <a href="http://nobilliards.blogspot.com/2021/05/levellers-zeitgeist.html">Levellers </a>or <a href="http://nobilliards.blogspot.com/2020/12/carter-unstoppable-sex-machine-1992.html">Carter USM</a>, because these songs are really here for <i>everybody</i>, especially those who had long since stopped buying, or buying into, music.</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span><br /></span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>The twelve songs on the main album - had it not been for Stevie Wonder's lawyers not unreasonably wanting a royalty share for "Step Out" (as with the Kevin Rowland/<i>My Beauty</i>/"Thunder Road" situation, this may have been the case of McGee's people simply neglecting to process the necessary legal paperwork) it would have been thirteen - are linked, for those with the open ears to listen, right from the beginning, when we hear Noel Gallagher practising his wah-wah guitar perched high on a wall outside Rockfield Studios in deep rural Monmouthshire (wonderwall - you see?) at about six in the (late spring, hence still cold) morning to an audience of bemused cattle, with accompanying birdsong and passing traffic; the odd tonalities you hear occur when he accidentally steps on and breaks his wah-wah pedal.</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span><br /></span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>That launches straight into "Hello," and they are fully back, louder and less compromising than ever, singing about how they can't <a href="http://nobilliards.blogspot.com/2021/04/oasis-definitely-maybe.html">live in the shadows any more</a> (there'll be more about <i>that </i>later on the record) with a demonic shuffle which puts the polite likes of the Wonder Stuff to frank shame. The maximalist compression which producer Owen Morris puts on the band's work as a whole tends to make their music come over as a flaming remnant of "rock" - it is all treble, with bass and drums mixed back to a semi-distant supporting role. This outlines the continuing influence of My Bloody Valentine and Loop on their rockier music. It is not quite rock, yet at the same time manages to <i>exceed </i>rock. The P Gadd quotation at the song's end - remember, this was a time when the not-yet-disgraced glam-rocker abided in the suburbs of National Treasure status - is merry, insolent and entirely fitting.</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span><br /></span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>Then it's hit after hit after hit, as all the best albums are. "Roll With It", then "Wonderwall," then "Don't Look Back In Anger." That's a pretty unanswerable triptych which also covers the entire gamut of Oasis' approach; the upbeat(-ish) rocker, the pensive ballad, the anthemic singalong. Much Captain Hindsight X-ray vision has been applied to the meaning of "Wonderwall" - it's about Meg, it's about a one-night stand in Glasgow who insisted on giving Noel Gallagher a wishing stone (hence the song's working title for ages was "Wishing Stone"), it's about a Harvey-style non-existent friend to whom to turn in times of woe, it's about basic insecurity.</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span><br /></span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>It actually doesn't matter what the song's about. What did matter was the aesthetic scythe that it cut through the iceberg of received opinion about pop. "Wonderwall" broached everybody's barriers, including mine. This was when the song and album were new and the wonder had not yet been ironed out by chronic radio overplaying. "I don't believe that anybody feels the way I do about you now" touched people who didn't buy records or keep up with the charts or the music papers, particularly when sung by what sounded like the Incredible Hulk seeking reform. The voice is deliberately coarse, rough and unrefined - and there is a rare directness which this roughness conveys to the listener. It was like Johnny Rotten fulfilling his life's concealed ambition of going on Radio 4's <i>With Great Pleasure</i> and reading poems. The piano coda, which utilises no more than four different notes, is all that the song requires. What sounds like a 'cello is probably a mellotron or a Kurzweil string synthesiser (ironically, the latter set of keyboards was co-owned, as a brand, by Stevie Wonder). I note that the ending to this globally popular song deploys a Cocteau Twins guitar trope. Nobody felt the way they did about Oasis with anybody else on the scene, that was for sure.</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span> </span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>As for "Don't Look Back In Anger," well, it is a portrait at one remove of what was commonly perceived as "post-war Britain" - but, then again, wasn't <a href="http://nobilliards.blogspot.com/2009/10/beatles-beatles.html">"Revolution 9"</a>? It was, again, a folk song of succour for what was effectively a displaced generation; it was grand, not quite as predictable as you might recall - those strings are definitely Kurzweil flyers, while the song's frame of reference manages to encompass both John Osborne and the Thirteenth Floor Elevators - and finally rather moving; Noel sings it alone, as he was maybe always meant to, and niftily pricks any potential nostalgia balloon by pleading with his audience not to put their lives in the hands of a rock and roll band - what can we do, he seems to ask, when you look at how spectacularly all of our predecessors screwed things up? There are different interpretations of "Sally" and whom or what, if anyone or anything, she is waiting for (though Noel is adamant that it isn't the Sally of "Sally Cinnamon" by the Stone Roses, whose influence on this album is imperceptible), but anyone of an Irish upbringing will immediately know what standing up beside the fireplace and taking that look right off your face (so I can take your picture, young man) means.</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span> </span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>That in turn leads me to think that "Don't Look Back," a song whose subject is pointedly about <i>not</i> living in the past, has some rather elegant red Beatle John herrings. What the song reminds me of far more securely is the "real" people's music of the sixties, which never really "swung" outside of central London, the sternly sexless but reassuring ballads of the likes of <a href="http://nobilliards.blogspot.com/2012/03/jim-reeves-40-golden-greats.html">Jim Reeves</a> and The Bachelors, the music which got deliberately phased out by 21st-century media (but which stations such as Boom Radio UK are currently attempting to rehabilitate). That music acknowledges, and speaks up for, a deep and long-enduring tradition (for many, including, I suspect, the Gallaghers' parents, the defining song of 1967 was not "A Whiter Shade Of Pale," but Frankie McBride's "Five Little Fingers").</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span> </span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>How is "Don't Look Back" folk music? It isn't just because of its use as Daniel Craig crosses that bridge at the end of <i>Our Friends In The North</i>. In May 2017, following the Manchester Arena bombing, the song became a symbol of both remembrance and endurance. People started singing it together, spontaneously, in Manchester city centre. Half of Coldplay performed the song at the One Love Manchester concert a week later. It revealed itself as something deeper than some had assumed a generation earlier. The song, as with Oasis' best songs in general, had become embedded in the soul of Manchester. It was meant for the city's people and sung with and by these people.</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span> </span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>As I intimated earlier, don't you fucking sneer at us.</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span> </span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>"Hey, Now!" is an immense, slithering wall of post-MBV glide with great propulsion, if an inconclusive ending to side one ("Step Out," one of the band's best rockers, part "Uptight" and paer "Rosalie" by Bob Seger, no doubt via Thin Lizzy - who of Noel's generation of players <i>didn't</i> practise their guitar to the accompaniment of <i>Live And Dangerous</i>? - would have provided a real uplifting climax).</span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span> </span></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><span>The ghost of a late sixties blues jam floats by momentarily in the middle distance, before side two commences with "Some Might Say." The song i</span>s monumental, and deliberately set out to be as such. Rather than
reheating the dessicated leftovers of 1969 Abbey Road, the song actually
represents the subtle triumph of shoegazing.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">Its stalwart avalanche of
largely hand-free guitars (assisted by a judicious use of echo and
delay by Owen Morris) would not have been conceivable without
the prior examples of MBV, Ride and the pre-“The” Verve. Over this
seamless mineshaft of amethyst rock, Liam twists his vowels so ardently
that they virtually become another layer of abstract sound to ride
astride all of the others – so the purposeful nonsense of dirty dishes,
sinks full of fishes and education in the rain make perfect sense, but
so do the more telling words: “Some might say they don’t believe in
heaven/Go and tell that to the man who lives in hell,” is an admirable
spear of directness, and the fervent connection which the group still
felt with their fanbase is celebrated in the socialist couplet: “Some
might say you get what you’ve been given” (the latter half sung by Liam
with genuine smouldering rage) “If you don’t get yours I won’t get mine
as well.”</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">The song's speed is slow and authoritative, but as Liam turns from his itching
dog to exchange chants of “You know what some might say” with Noel, as
the latter’s lead guitar prepares to take off, the song moves into a
blissful state of exultation which was sorely needed at this time – compare Ali Campbell’s
indifferent “whoo!” near the end of Pato Banton’s “Baby Come Back,” a number one single a few months before "Some Might Say") with
Noel’s gliding yelp of “Whooh!” here – and handclaps and snare drum
smacks help the massed guitars to ascend into Hüsker Dü (via the Wedding
Present – remember “My Favourite Dress”?) territory (the Americana reference is not gratuitous; the song was apparently inspired by Grant Lee Buffalo's "Fuzzy," which makes perfect sense - "We've been lied to"). A record worthy of
proper awe, “Some Might Say” finds Oasis at their unassailable and
justifiably insolent peak.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">Having proved their point, Oasis now proceed to explore less obvious musical avenues. "Cast No Shadow" tweaks the "Wonderwall" template into picturesque lamentation, and since the song is dedicated to Richard Ashcroft, it fittingly sounds more Verve than The Verve. Once again, the words take precedence over any assumed meaning - they could be singing about any downtrodden working man who treads the lifelong avenue of painful compromise. Those who still hurt from Thatcherism and its consequences knew exactly what was meant by "As they took his soul, they stole his pride."</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">"Bound with all the weight of all the words he tried to say" - <i>tell me about it</i>.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">"She's Electric," in contrast, is stupidly dopey and lovely. Is it a go at "the Blur song"? Perhaps, perhaps not - but its likeable cheer, its children's television paraphrases, its midpoint between "With A Little Help From My Friends" and "The Passenger" made one feel alive that shadily sunny Saturday morning of late 1995. Sunshine to chase away learned doom.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">But then it is a direct plunge into the hallucinatory hospital nightmare ("need a little time to wake up", indeed) of "Morning Glory" itself, which again is an assemblage of various elements of The Sixties, particularly Vietnam, but which also, one-third of the way through, unexpectedly detours into an extended passage of rootless guitar noise which is a direct descendant of "You Made Me Realise." As with much of the album, I am surprisingly put in mind of R.E.M. (yes, I know, "The One I Love," but also "World Leader Pretend" and "Ignoreland"). Already, as some commentators noted at the time, U2 were now more palpable rivals for them than Blur could ever have been.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">Slowly crawling out of this post-intensive care syndrome scenario (I experienced it three summers ago, so know precisely what I'm talking about), we encounter another fleeting glimpse of blues-rock, complete with agonised harmonica, before we settle most gracefully and gratefully in the bring-our-survivors-home finale of "Champagne Supernova." Or so we imagine, before guest "supersub" Paul Weller comes in and takes the song to a thunderous Crazy Horse climax before it subsides once more into satisfied silence. As for that couplet - if you'd ever seen <i>Chigley</i>, you would have known what "walking slowly down the hall" meant, while "faster than a cannonball"; well, isn't speed all relative when you're getting high? Millions of people singing it weren't bothered by the absence of wry lyrical curlicues - the song got into their gut. What the hell did "awopbopaloobop" etc. mean, other than, move over, it's our turn now?</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">And then, in 2014, the thing was deluxe-reissued with two bonus discs, one of which contained all the single B-sides and other miscellanea:</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><img alt="What's The Story) Morning Glory? - Back Cover - Michael Spencer Jones – The Archivist's Gallery" class="n3VNCb" data-noaft="1" src="https://cdn.shopify.com/s/files/1/1440/7042/products/Morning_Glory_-_Back_21st_Annvsry_Ed_530x.jpg?v=1482084712" style="height: 530px; margin: 0px; width: 530px;" /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><b>Track listing: Talk Tonight/Acquiesce/Headshrinker/It's Better People/Rockin' Chair/Step Out/Underneath The Sky/Cum On Feel The Noize/Round Are Way/The Swamp Song/The Masterplan/Bonehead's Bank Holiday/Champagne Supernova (Brendan Lynch Mix)/You've Got To Hide Your Love Away</b></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">Honestly, if this had been released as a double CD album at the time, the record's impact would have been even more seismic than it was. I don't think anybody could have beaten it.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">The first three songs were B-sides to the CD single of "Some Might Say." “Talk Tonight” is the most delicate and moving song Noel ever recorded,
more or less solo and in one take (“Let me take my watch off”), singing a
true story about how talking with a fan at her home in San Francisco
after having walked out on the group in a suicidal fury saved his life,
with its sublimely minimalist two-note electric piano solo and modest structural nod to "Ziggy Stardust."
“Acquiesce,” recorded after Noel's return, features Liam singing lead on
the verses and Noel on the choruses, exultant, forgiving and cocksure of
the moment which they were just about to grasp (“We be-LIEEEEEEVE in
one another!”) - it is the brightest and greatest song the band ever did. “Headshrinker” was one of the increasingly rare occasions
when Oasis sped up and rock (and in so doing reveal their considerable debt to The Faces).</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">"It's Better People," with its sped-up "Wonderwall" pattern forming the foundation of a jubilant handclap of musical optimism, likewise wouldn't have been out of place in the more reflective corners of <i>Ooh La La</i>. "Rockin' Chair," the other B-side of "Roll With It," is a profound meditation of regret-filled departure that ranks with anything on the second side of <a href="http://nobilliards.blogspot.com/2021/05/the-boo-radleys-wake-up.html"><i>Wake Up!</i></a> - Liam sounds genuinely hurt in places ("I think you're rude") and this reluctant wanderer is dutilfully casting no shadows.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">Then it's the "Don't Look Back" B-sides; "Step Out" finally finds a release, "Underneath The Sky" is filled with all the delicious chord changes and modulations you're too scared to consider, and their "Cum On Feel The Noize" is clearly symbolic, acknowledging their real stylistic forefathers, even though Noddy Holder was amused by the band's need to take the song one-and-a-half octaves
down to accommodate Liam’s voice. That takes away Noddy’s multiple
punctums of scream; contrast Holder’s sonorous “Baby baby BAY-BEEEEE-AH!”
intro [and he was just warming up in the studio!] with Liam’s “am I
bovvered?” mumble - and yet the latter is far more fitting to its times. Everyone in the office sings along at the end and we get some cod-Brummie bantz to see Britpop off.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"> </span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">Finally, the "Wonderwall" B-sides; "Round Are Way" (deliberately misspelt in tribute to Slade) is a swinging punch of a romp which is happily borne by Mark Feltham's solo harmonica and the enthuasistic ranks of distinguished British jazz musicians (at least one of whom had previously worked with The Beatles) who formed the horn section. "The Swamp Song," with Weller guesting on more back-to-basics harmonica, is the full-length version of the track whose snippets we have previously heard twice.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">And then there is the phenomenal "The Masterplan" in which Noel gazes at "Hey Jude" and says, with confidence, we can have that. Always at his best when, ironically, pleading ("Please, brother, let it be" - and we know to whom he is singing), this is a majestically dolorous meditation on what-does-it-all-mean-basically (did you think Oasis didn't know their Chameleons?) and what-if-there's-<i>no</i>-masterplan? The voice itself disappears about halfway through the song, and the music then eddies with steady subtlety into an uneasy silence.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">The remaining three songs are inessential but useful. "Bonehead's Bank Holiday" is the band's sole "Ringo" moment and remarkably turns out to be less than rubbish. Brendan Lynch softens out ands simplifies "Supernova" for the <i>Late Lounge</i> audience. Finally, Noel acknowledges John with a rough but heartfelt reading of perhaps the most coded of Lennon's songs.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">The patter. Oasis, or the two guys up the front anyway, had the patter. There is a characteristic that I lack, which has led to my becoming perhaps the most obscure and least read of all music writers. A breezy, easy self-confidence, you might call it. As with the Gallaghers and their father, I had all of that beaten out of me at a perilously early age. The thing is, my father succeeded, whereas Gallagher senior didn't. So Oasis perhaps speak for the whole bloody lot of us. We listen to them still, turned <i>Morning Glory </i>fourteen times platinum (and it's <i>still </i>on the chart), because they made a fuss.</span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;"><br /></span></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: times;">What does it take for you to listen to me?</span><br /></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-36418384787053617662021-05-28T12:24:00.001+01:002021-05-28T12:26:02.966+01:00Mariah CAREY: Daydream<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/9/95/Mariah_Carey_-_Daydream.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://upload.wikimedia.org/wikipedia/en/9/95/Mariah_Carey_-_Daydream.png" /></a></div><br /><p></p><p style="text-align: left;"> </p><p style="text-align: justify;"><i> (#537, 7 October 1995, 1 week)</i></p><p style="text-align: justify;"> </p><p style="text-align: justify;"><b>Track listing: Fantasy/Underneath The Stars/One Sweet Day (with Boyz II Men)/Open Arms/Always Be My Baby/I Am Free/When I Saw You/Long Ago/Melt Away/Forever/Daydream Interlude (Fantasy Sweet Dub Mix)/Looking In</b></p><p style="text-align: justify;"><b> </b></p><p style="text-align: justify;"><b><i>(Author's Note: written by Lena, edited and published by me) </i><br /></b></p><p style="text-align: justify;"><b> </b></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">If Mariah Carey were politely going along with what her husband and her record label wanted her to do,
<i>Daydream</i></span></span><span style="color: black; font-size: small;"> would not be half as very fine as it is.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">It is so, <i>so </i>much better
than <a href="http://nobilliards.blogspot.com/2021/02/mariah-carey-music-box.html"><i>Music Box</i></a> – and that is down to Carey having a lot more say in what
is happening, doing the majority of lyrics and music herself.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">Of course, she could have
done that and stayed carefully in the confining lines her husband Tommy
Mottola had drawn for her, but Carey wanted the dreamy sensuality of
Minnie Riperton (“Underneath The Stars”) and
the hip-hop beats, she specifically wanted to work with Ol’ Dirty
Bastard on the joy that is “Fantasy” (the original is on here, but the
version with him is on her
</span><i><span style="color: black; font-size: small;">Greatest</span></i><span style="color: black; font-size: small;">
</span><i><span style="color: black; font-size: small;">Hits</span></i><span style="color: black; font-size: small;">), she wanted to work with Boyz II Men on a ballad in tribute to those
lost to AIDS (Boyz II Men had the same idea – “One Sweet Day” is thus a
very personal song made universal*).</span><span></span><span style="color: black; font-size: small;">Mariah wanted and Mariah – perhaps with a diva’s tantrum here or there, but I’m on her side – got.</span><span><span style="color: black; font-size: small;">
</span></span></span></p><div style="text-align: justify;"><span style="font-family: times;">
</span></div><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">For the Columbia execs who were getting cold feet, Carey was very smart to include an old-fashioned <span> </span></span></span><span style="color: black; font-size: small;">ballad,
“Forever,” as if it were still 1962; she also covered, of all things,
“Open Arms” by Journey, very nicely arranged to sound like a Carey
ballad without actually being
one.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">For herself she had an interlude club version of “Fantasy” done with David Morales – swinging, engaging, modern –
</span><i><span style="color: black; font-size: small;">alive</span></i><span style="color: black; font-size: small;">.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">This is what I want, she seems to be saying – no limits.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">Not in tempos, subject matter, styles – I am doing what
</span><i><span style="color: black; font-size: small;">I</span></i><span style="color: black; font-size: small;"> want.</span><span><span style="color: black; font-size: small;">
</span></span></span></p><div style="text-align: justify;"><span style="font-family: times;">
</span></div><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">In
the gospel-rooted song “I Am Free” she thanks (this is my
interpretation) her husband for giving her the “ray of hope” that has
enabled her to do all this in the first
place –“free to enough to fly” anyway she wishes.<span> </span></span></span><span style="color: black; font-size: small;">It is a plain and heartfelt song. </span><span></span><span style="color: black; font-size: small;">So
is “When I Saw You” and suddenly it comes to light – Mariah has
dedicated this album to her husband, to their past, to what she
</span><i><span style="color: black; font-size: small;">once</span></i><span style="color: black; font-size: small;"> felt but perhaps doesn’t anymore.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">This is the prettiest of remembrances, and her love is still very real.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">But the freedom she now has artistically is the real thing that is saving her, I sense.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">“Long Ago” with its solid
hip-hop beat courtesy of Jermaine Dupri is tougher and telling it how
it is – “Long ago you used to want me/Now it’s all so far away/But you
still haunt me/Take me back to yesterday.”</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">What she wants is missing and she is “crumbling down” without his love.</span><span><span style="color: black; font-size: small;">
</span></span><span style="color: black; font-size: small;">This is what a teenage Beyonc<span face=""Calibri",sans-serif" style="font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">é</span> will pick up and run with in a decade’s time.</span><span><span style="color: black; font-size: small;"> </span></span></span></p><div style="text-align: justify;"><span style="font-family: times;">
</span></div><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">“Melt
Away” is her and Babyface’s admission of weakness, the crumbling
turning into a melting, living in a “cloud of reverie” far away from
what is happening, what is
possible.<span> </span></span></span><span style="color: black; font-size: small;">This
is very much an album of what could be, what is daydreaming, what is
longed for....”Forever” admits straight off that the love is over, but
her Other is still
hers forever – “you will always be the only one.”</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">And there in the lyrics is the “we belong together” which will be repurposed once she fully is emancipated...</span></span></p><div style="text-align: justify;"><span style="font-family: times;">
</span></div><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">Most startling however is the quiet, mournful “Looking In.”<span> </span></span></span><span style="color: black; font-size: small;">She is asking someone – everyone – to look beneath her surface.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">Mariah sings about the girl inside herself, hidden away, tearful, insecure.</span><span><span style="color: black; font-size: small;">
</span></span><span style="color: black; font-size: small;">“Don’t think that I am disenchanted.”</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">She is outside looking in, dissociated from herself, the real her defended strongly from anyone who could do her harm.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">This is Mariah saying – ha, you think you know me, but you most certainly do <i>not</i>.</span><span><span style="color: black; font-size: small;">
</span></span><span style="color: black; font-size: small;">As free and open and even rebellious as
</span><i><span style="color: black; font-size: small;">Daydream</span></i><span style="color: black; font-size: small;"> is, this is not her version of
</span><i><span style="color: black; font-size: small;">Live Through This</span></i><span style="color: black; font-size: small;"> or
</span><i><span style="color: black; font-size: small;">Hungry For Stink</span></i><span style="color: black; font-size: small;"> (though she is recording her grunge album under the name Chick in the evenings while working on this album in the mornings).</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">Is “Looking In” also addressed to her husband?</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">It is a song of defiance, sorrow, a letting in of some air in a world that is stale and full of images, flat and pervasive.</span><span style="font-size: small;"><span style="color: black;"><span>
</span><span> </span></span></span></span></p><div style="text-align: justify;"><span style="font-family: times;">
</span></div><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">It
is a sad thing to note that this is, so far, the last time we reach
Mariah here in this tale – her emancipation and elusive and
butterfly-like self, always evolving,
will not be charted here.<span> </span></span></span><span style="color: black; font-size: small;">The
UK public seem to have settled on her being that woman with the bouncy
Christmas song, dutifully buying her albums, but never enough to reach
the top so far (</span><i><span style="color: black; font-size: small;">Butterfly</span></i><span style="color: black; font-size: small;"> got to #2, stopped only by an extremely hyped Britpop album).</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">This is nevertheless a huge
step forward and a measure which stands for any star to equal – to go
against your own label and family, to push for what you want and fully
express yourself, to take that freedom and
run with it.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">This is what she was committed to and it worked; she was vindicated.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">It is one thing to have that freedom and exercise it; it is another thing to have too much success, but not <i>enough </i>freedom.</span></span></p><div style="text-align: justify;"><span style="font-family: times;">
<span style="font-size: small;"><span style="line-height: 115%;"><span style="color: black;">*”We
miss you David Cole” she says in the liner note<span>;
</span></span><span style="color: black;">Boyz II Men had also lost their road manager.</span></span></span></span></div><p style="text-align: justify;"><b> </b></p><p style="text-align: justify;"><br /></p><p style="text-align: left;"><br /></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-31143587209690089262021-05-27T13:05:00.002+01:002021-07-08T16:26:06.856+01:00BLUR: The Great Escape<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/c/c9/Blur_thegreatescape.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://upload.wikimedia.org/wikipedia/en/c/c9/Blur_thegreatescape.png" /></a></div><br /><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt;">(#536: 23 September 1995, 2 weeks)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Track
listing: Stereotypes/Country House/Best Days/Charmless Man/Fade Away/Top Man/The
Universal/Mr Robinson’s Quango/He Thought Of Cars/It Could Be You/Ernold
Same/Globe Alone/Dan Abnormal/Entertain Me/Yuko And Hiro</b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The Great
Escape <i>as Sitcom Pilot</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The Worried
Man sits there, in front of what is assumed to be his family, in a studio mock-up
of a suburban living room. The verbal exchanges are stolid and uninvolving, especially
when they endeavour to be humorous. He cannot find anything funny or
stimulating about this environment. He knows that he cannot repeat this stasis
of enforced <i>politesse</i> until he converts to mush through lack of use.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">He has
had enough, this Worried Man. He rises, takes one last, elongated, dubious yet compassionate
look at these representations of people, then walks away from them, from the cameras,
from the studio, from his life. Once outside, his pace and excitement quicken,
and he has never felt more free, never in this life.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The
Worried Man is called Gurney Slade. He is not quite Anthony Newley, whose
pre-emptive shade dominates these fifty-seven minutes of discourse. But he has
decided. His decision is irreversible. He is walking away. As yet he does not
know whence he is heading. But the journey seems so much more enticing than
this falsified reality, the same one beneath which we all, ultimately, force
ourselves to work.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as High Fidelity</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It was
called Sam Goody’s Record Store, and for two brief years it existed at Hammersmith,
in the mall downstairs from the bus terminal and upstairs from the Underground
station. Its prices were not exactly cheap but it was exceptionally useful for
things which Our Price in the King’s Mall couldn’t quite supply.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">I bought the
record there, on compact disc, on Monday 11 September 1995.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as Hauntological Accessory</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><i>Six
years before, to the day.</i></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as Perpetual War Machine</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The
opening guitar riff comes more or less straight from “I Don’t Live Today” by
Jimi Hendrix. “Existing! Nothing but <i>existing</i>!”</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as 1970s British Drama</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Sexy suburban
capers. She loves a man in a uniform. But her husband has said goodbye, or
perhaps simply faded away. What do the neighbours think? She doesn’t care. She –
and, presumably, he – are happy. They are just about the only happy people
spoken about on this record. That is, if they <a href="http://nobilliards.blogspot.com/2012/06/the-stylistics-best-of-stylistics.html"><i>are</i> happy.</a></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The husband
she never saw because the system would not permit her to do so; the same system
which pays for the masks and the canapes and the patio – the signifiers of your
having left a mark on the world, having existed. The song slows down as their
motions inevitably do; it does not sound fulfilled, or fulfil other people’s expectations
of fulfilment.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The Great
Escape <i>as Luck Of The Numbers</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The
National Lottery was and is a con as far as personal wealth creation is
concerned. It has done an awful lot of good for society, the sort of good that
governments are routinely elected to provide and subsidise, if you care about
that, which I suspect most of you do not. You only recoup what you have
invested in tickets over a certain period. I won ten pounds on it once. The
odds against becoming a multimillionaire are greater than most odds relating to
untimely death. Trafalgar Square or <i>Telly Addicts</i> – the choice is <i>always</i>
“theirs.”</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as Home Counties Ready Reckoner</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Win those
houses! Win the M4 motorway! Secede from society without the need to squat in a
dilapidated cottage by the infinite sea in the farthest extreme of nowhere. It
is such a British trait to hide and recoil away, shyly, from other people.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as Doppelgänger</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The low,
droning hums and whistles recall <a href="http://nobilliards.blogspot.com/2013/02/adam-and-ants-kings-of-wild-frontier.html">Adam and The Ants</a>. But this is the king of a
frontier bereft of wilderness. The guy in “<a href="http://nobilliards.blogspot.com/2021/03/blur-parklife.html">Parklife</a>,” he had it sorted. He had
no future, as you might perceive it, but he was perfectly content with his limitations.
Now his strolls become more strident and have a purpose, namely to harm and
cause blood and fuss. The bass appears to comment at right angles to the
melodic top line, like apprentice hooligans cautiously glancing around the top
end of Moore Park Road, waiting for the opportunity to prove themselves.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as Warning From History</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Can the
top man and the charmless man be interchangeable? The charmless man who shakes
the hands of everyone whom he cannot and will not remember is now running
things, had you noticed? The singer swoons in those adjectival high-note bends
as though he might secretly admire the semi-concealed <i>chutzpah</i>.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">But so
much of this drama is prophesising exactly what has come to be today, and
perhaps this is why so many people remain slightly uncomfortable with it.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as Free For All</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">You are
only allowed to be happy by order, by drug-induced sublimation. “The Universal,”
the key to all shallow mythologies, sees everyone…settled, contented. The Herb
Alpert memory of its trumpet, the shrilly heartfelt backing vocals – the video
really could be taking place on the dark side of the moon. You may also recall
a very similar “new town” picture <a href="http://nobilliards.blogspot.com/2014/07/the-style-council-our-favourite-shop.html">a decade before</a>.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Sad? Miserable?
<i>Unmutual</i>? Never mind – take this drug and it will all become a memory.
Think of how you’ve been prodded, these past fourteen months, to Zoom your way out
of society, to rely on the internet, on baking, on yoga, with half of humanity
huddled away, concealed and frightened, sealed away under benign house arrest
to confront your worst instincts.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The theme
is Prozac, to which the singer was then addicted. But just let <i>what</i> go? <i>Life</i>?</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The golf
ball-faced white sphere which dominates the video for “The Universal” may be reminiscent
of a buried memory.</p><p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p><p class="paragraph" style="text-align: center; vertical-align: baseline;"><img alt="The Prisoner Stock Film Rover Beach Footage NO AUDIO - YouTube" class="n3VNCb" data-noaft="1" src="https://i.ytimg.com/vi/C7MCAebrtVE/hqdefault.jpg" style="height: 360px; margin: 0px; width: 480px;" /> <br /></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><i>“Why were
they trying to kill me?”</i></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><i>“They don’t
know you’re already dead.”</i></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as Up The Wooden Hill To Bedfordshire</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Moments
in 1995 relating to us and Britpop: it was all about <i>moments</i>.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">A
Saturday morning in mid-September, summer still forthright and bright, on the
27 bus from Chiswick High Road to Camden Town, "She's Electric" by
Oasis heard on the driver's radio, everything perfect, everything as magically
now as anything could be.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Or that
spring, when I moved to Stamford Brook, across the road from the old Queen
Charlotte's Hospital but just around the corner from Chiswick, brightly walking
the two miles to work every morning with "<a href="http://nobilliards.blogspot.com/2021/05/the-boo-radleys-wake-up.html">Wake Up Boo!</a>" buzzing
through my head like an amiable butterfly, though one not without a certain
sense of its own mortality ("for what could be the very last time").</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Friday
lunchtimes, shortcutting my way via the pub adjacent to the Riverside Studios
where Chris Evans and the rest of the <i>TFI Friday</i> team would be spilling
out onto the road, holding court and the man himself routinely saluting me as I
strolled past.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The
open-mouthed adoration at first hearing <a href="http://nobilliards.blogspot.com/2021/05/black-grape-its-great-when-youre.html">"Reverend Black Grape"</a> with
its noble sense of anti-sense ("Go and play fookin' tennis!"
"Old Pope he got the Nazis to clean up their messes," "Joy-fool
and triumph-AAAAUUUNNNTTTT!"), its brilliantly orchestrated chaos, Ryder
and Bez back in the land of the post-living.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Pulp, on
a warm late October night at Shepherd's Bush Empire, the Thursday before <i>Different
Class</i> came out, though we all knew the new songs anyway and sang along with
every one; the precious and indestructible knowledge of living within a moment
that was <i>our</i> moment.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">If I do not
hold 1995's music in quite as much awe as that of 1994, it is because most of
it represented consolidation on the part of musicians we already knew. But what
consolidation, even if from a purely British perspective; Tricky's <i>Maxinquaye</i>,
a record which stopped time, and its monochrome twin Scott Walker's <i>Tilt</i>,
a record which worked out ways in which to restart time; drum n' bass about to
become "legitimate" - the cold January warmed by the dazzling <i>The
Deepest Cut Vol 1</i> singles collection by Omni Trio, and by D*Note's
astonishing <i>Criminal Justice</i>, one of the great British albums of its
decade; the Benjamin-esque (or, more precisely, Franz Fanon-ish)
realphabetising of trip hop carried out by Earthling's <i>Radar</i>. Radiohead
quietly wept when no one else dared with <i>The Bends</i>; their comedy doubles
Supergrass singing seriously about being told to sit up straight at the back of
the bus.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">A cloudy
Monday morning passing over Vauxhall Bridge, Goldie's newly-purchased <i>Timeless</i>
bleeping and swimming out to meet our ears.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><a href="http://nobilliards.blogspot.com/2021/04/elastica-elastica.html">Elastica</a>'s
brilliant black-and-red rewording of 1978.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">And, in a
long overdue vindication of the original New Pop, Edwyn Collins came back with
the massive worldwide hit he had always deserved: "A Girl Like You,"
the missing link between Northern Soul and Iggy Pop and everything else - Pete
Waterman's declared favourite single of the last 25 years.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Oh, these
were the times, all right. Times when all of the above had platinum-selling top
ten albums, and in the cases of the Boo Radleys, Pulp, <a href="http://nobilliards.blogspot.com/2021/05/supergrass-i-should-coco.html">Supergrass</a>, Black Grape
and Elastica - and Oasis - number one albums as well. When you could turn on
Radio 1 at 5 pm on a Saturday and hear that grizzled survivor of the sixties
pirates Johnnie Walker gleefully sticking on Oasis' "Roll With It"
with the heartfelt rhetorical exclamation: "Aren't pop singles <i>thrilling</i>
again?"</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Everything,
despite the numerous subsequent attempts to belittle and scale down Britpop and
what it briefly allowed, was thrilling about that year, and Blur, or at least
Parlophone, must have been aware of the need to magnify and perpetuate that
thrill - why else would they have moved the release date of "Country
House" to coincide with that of "Roll With It"?</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Even if
one wonders how quickly it would have got to number one if Oasis had decided to
go with, say, "Wonderwall" at that stage, it got the wider public
interested in the charts again perhaps for the first time in a generation.
EMI's marketing budget being bigger than Creation's, "Country House"
inevitably won the race; but I don't know anyone who didn't just go out and buy
both or, like ourselves, were photographed for the local paper happily buying
both at the Virgin Megastore in Cornmarket Street that fine Saturday morning.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">As
wonderful as it was to be in the heart of London as all this was happening -
the Berwick Street 4 am pictorial on the cover of <i>(What's The Story?)
Morning Glory</i> was immediately evocative even if it "starred"
future <i>Guilty Pleasures TM</i> magnate Sean Rowley - <i>The Great Escape</i>,
the final part of Blur's "Popscene" album trilogy, cut deeper with
us, perhaps because it was recorded and expressed its sorrow so locally; at the
Moulin Rouge studios in Fulham, directly across the road from where I briefly
lived, and then at the Townhouse Studios in Goldhawk Road, ten minutes' walk
from where I lived in 1995.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">And
another reason is that, along with <i>The Bends</i>, it was the only "pop"
album of its year to face up to the slow societal collapse which had already
begun to occur. The banging and yelling at the beginning of "Ernold Same"
were recorded by Albarn at the JA Wines store in Goldhawk Road; I know this for
a fact because I saw him doing it early one Wednesday morning while taking a
different route to work.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Moreover,
<i>The Great Escape</i>, the title of which, as symbolised by the sleeve's
descent from the twinkling stars to the blue skies to the thrusting
Thatcherkids on the yacht preparing for a dive to the shark awaiting them at
the bottom, suggested fourteen different attempts to escape from
"life" and particularly from self- or society-willed loneliness.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">There is
not much merriment to be had here, and several negatives of the promise willed
by <i>Modern Life Is Rubbish</i> or <i>Parklife</i> (by the time of <i>The Great
Escape</i>, there is no "life"); the aforementioned "Ernold
Same" (note the Floyd/Barrett thematic/musical crossover) is
"Parklife" defeated, the chirpy confidence of Phil Daniels replaced
by the monotone drone of Streatham’s Ken Livingstone; "Entertain Me"
is "Girls And Boys" in hell, its New Pop mores claustrophobic and
suffocating, though bearing one of Alex James' great bass riffs (taking its lead from John Taylor via Mick Karn).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">From the
speedy descent from the Westway into town expressed in "For
Tomorrow," we arrive at the apocalyptic tomorrow of "He Thought Of
Cars" wherein Graham Coxon's glued guitar endlessly rears up on itself
like a landlocked car as Albarn, in a Robert Wyatt sob of a voice (accompanied
by a very Wyattesque organ), reflects on another "Day In The Life"
tragedy and how the world is systematically slowing down to choke itself to
death; anyone marooned on the M4 or A40 at rush hour would have understood it
immediately.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Its quiet
dissolution is relentless; "The Universal" has Albarn pulling down
the shutters on the world as everyone turns into themselves, nullified by
valium, satellite TV, the National Lottery, and painting a remarkably accurate
picture of the nothingness which the 21st century has brought into being, and
while doing so paints an encyclopaedic portrait of British orchestral pop, from
the Dusty/Walker Brothers trumpets and echoing strings at the beginning,
mutating almost imperceptibly via the seventies female backing vocals into <i>Lexicon
Of Love</i> grandeur at its close.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">"Fade
Away" in its second Specials album ska-muzak arrangement gives a numbing
account of two lovers gradually erasing each other out of their respective
pictures, since work and profit are now the gods to be obeyed.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">"Best
Days," one of Albarn's most moving songs, set against a bare drum machine,
sees the joyless commuters leaving London behind without ever really seeing it,
"into leafy nowhere," with the chilling, ambiguous payoff line
"Other people break into a cold sweat if you say that these are the best
days of our lives" over a gorgeous series of Barrett chord changes.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The
record, and the story, close (apart from a quick end-credits instrumental
reprise of “Ernold Same”) with the heartbreakingly robotic Eno tribute
"Yuko And Hiro" where we find our two loyal workers, selfless in
adding to the profits of their company, six days a week, who could be working
anywhere on the planet, drowning their unspeakable grief in drink in the barren
evenings: "I never see you...we're never together...I love you
forever." It is akin to the weeping of the last man on Earth. At the end,
nothing remains except the endless log-out tones of an abandoned computer.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">I <i>knew</i>
that motorway, what it was like on a Friday evening. I lived in London during
the week and in Oxford at weekends. We only ever really saw each other for
two-and-a-bit days out of every week.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">While the
above are the most profound moments on <i>The Great Escape</i>, they are
balanced by the expected uptempo, or at least lumbering, numbers extending the
work of Davies, Townshend and Marriott. Some of these, e.g. the Lottery ode to
irony "It Could Be You" or the deliberately overblown "Mr
Robinson's Quango," indicate that Albarn's interest in this side of things
was gradually running out.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">But there
is still much of worth here; the extremely reluctant shuffle of
"Stereotypes" and, indeed, "Country House." The latter,
with its honking saxes, cheerily sardonic mockney lead vocal and general
socioaesthetic outlook, not to mention its crashing piano intro, seems to
derive in great part from the work of Madness, but the Beat Boom harmonies and
triple steps ascending to the chorus locate its wider roots.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Ostensibly
a portrait of the overachieving tycoon who has to get away from everything,
"Country House" was allegedly inspired by Blur manager (and
ex-Teardrop Explodes member) Dave Balfe, though I tend to think more of Anthony
Keating, the anti-hero of Margaret Drabble's <i>The Ice Age</i>, who first
presents as a proto-Thatcherite made good, a property developer who has just
landed his dream mansion in the heart of Yorkshire - but as the ice, and the
narrative, cut steadily deeper in, we find that this is all a facade; Keating,
not yet forty, has just had a heart attack, has lost millions in the property
slump, has a past life which is revealed as a directionless mess, and may be
lucky even to keep this home; his business partners think him a liability and
want rid of him.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">So here
we have the protagonist of "Country House," seemingly free to do
whatever he wants, but in actuality hopelessly trapped in analyst's bills,
afternoon TV repeats, Balzac, Prozac, self-pleasure ("he's got <i>Morning
Glory</i> and life's a different story"). The facade finally collapses in
the bridge just before the final choruses as Coxon's whimpering guitar leads
the group into a very 1967 psychedelic swoon of pitiless clarity: "Blow,
blow me out, I am so sad, I don't know why." Even though they then stride
into the final, allegedly celebratory moments of the song, with its handclaps,
high kicks, whoops and horn section quotations from "It's Gonna Be A Great
Day," it is a hellishly hollow mockery of fun and laughter (since, after
all, "he doesn't drink, smoke, laugh" - did you catch the Adam Ant
reference lurking there?). Thus it was perhaps the perfect number one single
for its year; you know none of this is going to last, you know you can't go
back up the Westway and home again, and within two years the jokes and irony
will be stripped to reveal – entry #575. These moments had to be cherished, for
fear of having nothing left to remember, or hold onto; the "fog in his
chest" turning into a fatal fog.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The Great
Escape <i>as Fugue State</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Stephen
Milligan, the former Conservative MP for Eastleigh, “was found dead in his
house at 64 Black Lion Lane, Hammersmith, by his secretary Vera Taggart on 7
February 1994. Milligan had failed to appear in the House of Commons as
expected, and so Taggart went to look for him.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">‘Milligan's
corpse was found naked except for a pair of stockings and suspenders, with an
electrical flex tied around his neck, a black bin liner over his head and an
orange in his mouth. The coroner concluded that he had died in the early hours
of 7 February. The pathology report into Milligan's death discounted the
possibility of murder, lending weight to the belief that he died accidentally
as a result of autoerotic asphyxiation. No drugs or alcohol were found in his
blood, and no substances were found to have contributed to his death” (from Milligan’s
Wikipedia entry).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Oh, what
a naughty, naughty boy to lose his way in a world full of friends.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as <a href="http://nobilliards.blogspot.com/2020/11/bryan-adams-waking-up-neighbours.html">Nirvana</a></i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It was so
obvious when Lena pointed it out to me – “Entertain Me” = “here we are now – ENTERTAIN
US!” Alex has his moment and this is “Girls And Boys” crushed under a purple
juggernaut, squashed into a febrile corner. One wants the bassline to go on
forever, and in some ways it still does. Thus climaxes the group’s highly
ambivalent attitude towards America. They will inadvertently manage to conquer
it with their next record.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as Zone 6 Travelcard</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">They
came, even in the mid-nineties when everybody could still afford to live in or
around the centre of London, from their suburbs, to be entertained, before retreating
again. Now they have nothing else to do since a generation of vested interests
has ensured that journeying into and out of central London is as deliberately
unpleasant an experience as could be imagined, as though the plan were to retain
the place for the exclusive use by the rich as a cyclical playground. Would you
still laugh out loud if you’d been told those were the best days you were ever
likely to experience in your life? The singer, as tender and compassionate as
he had ever sounded, makes you believe that they were.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as All Our Yesterdays</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">There had
been so much cautious promise two years earlier. But for <i>what</i> tomorrow?
This <i>is</i> tomorrow – sweat it or keep out. The virtual future, including
working from home when the concept of “home” has been purposely taken away from
us. Or the future which people are told that they still want; back to “normal,”
a return to the office, the way things were, because a year ago we were
accidentally given the once-in-a-millennium opportunity to change the way we
lived and we were too scared, tired and complacent to do it. Oh no, we <i>were</i>.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">But many
of us have actually come to realise that, no, we <i>cannot</i> go back to the way
things were, because the way things were was palpably not working for so many
people. Depression, suicidal ideations, domestic violence – all consequences of
a pattern idly based on a pre-Industrial Revolution farmers’ template. We
cannot continue to allow the majority of humans to suffer in order to facilitate
the vulgar wealth of a loud minority.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">But, in “Yuko
And Hiro,” hope has been squashed out. They might as well be robots, these two;
they work “hard” (always a ghastly chimera – people should work <i>well</i>;
working “hard” essentially now means slavery) and profess to love each other (so
heartbreaking, that move from C major to C minor and finally to G) but never
actually see each other. Do they even still exist in any meaningful form, or is
this the residue which humanity opted to abandon? What was that album we did
where the singer dies <a href="http://nobilliards.blogspot.com/2013/06/abba-visitors.html">at its end</a>?</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as In Go The Freaks</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Punk punk
punk, “Globe Alone” and “Dan Abnormal” (how fitting that the latter should be
the one here which most resembles Elastica) storm along with hooks that may
still catch you unawares at 2:45 on an overcast Wednesday afternoon, the
guitarist, as he has done through most of the record, sounding as though he is
slashing this music apart, shaking it to its atoms. “I want McNormal and chips/Or
I’ll blow you to bits.” As the boys say at the end of <i>Threads</i>, “Gies’ it!”
because those who rant the world have robbed them of their capacity for language.
“Give Us It.”</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as Unreliable Narrator</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Observant
readers will note that I have not written about the songs in quite the same order
as they appear on the album. This is because it is the order in which their
lyrics appear in the album’s booklet. I did hold back on one – “He Thought Of Cars,”
which comes second after “Stereotypes,” as that might have been a bit much to
take so early (which is also why <i>Dance Of The Dead</i> was moved from second
to eighth <i>Prisoner </i>episode), and in which the hopeful wheels of “For Tomorrow”
appear to have been glued into the gummy ground with electrified pliers. Everything
that moved in 1993 is now static, and it is more than clear that this stasis cannot
be supported for much longer.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The great
escape from the magnet which attracted us in the first place? Drinks, sex,
violence, oblivion? Because you cannot really escape from its pull. The suburbanites
of “Best Days” can do so for a time, though do not sound overly happy about it.
But try to get out of London, and the West, whether on the ground or in the
air, will freeze. Such a hope-free and central song to this tale, it revolves
on an axis of anti-rock – all the traction sucks out the air. <a href="http://nobilliards.blogspot.com/2021/01/rem-automatic-for-people.html">Everybody hurts</a>,
but in a different and perhaps irredeemable way. And, ironically, the song
points, as does the road of which it sings, directly towards…<i>Oxford</i>.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The penultimate
set of lyrics listed in the booklet is for “Fade Away.” It is tempting to think
of this as Terry Hall trolling – given the latter’s previous obstreperous attitude
to marriage (“Too Much, Too Young,” “Tunnel Of Love”) – but it was really refreshing
to hear <i>More Specials</i> being utilised as a point of musical reference in 1995
(prior to its inclusion in <i>Melody Maker</i>’s <i>Unknown Pleasures</i> booklet,
it had been in imminent danger of falling out of history altogether). Neil Sidwell
does a decent Rico pastiche on trombone but again there is this undertow of denied
hope – the couple get together and marry, seemingly in the absence of much else
to do, never see each other, you know what happens and perhaps what she goes on
to do (see “Stereotypes”). The <i>leitmotif</i> circles around itself like a
deserted cluster of orbit.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It “ends,”
as does the album, with “Ernold Same,” and the illustration at the foot of the
page is that of a covered dead body in the morgue. The ultimate “great escape.”</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The
Great Escape <i>as Lost In Translation</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">They
loved it at the time, did the critics. All except Paul Morley in <i>Vox</i>
magazine who grumbled about Chas and Dave. But the same critics undervalued (possibly
not without justification) entry #538, and, realising which way their
demographic was turning, quickly did an about-face, to the extent that <i>Q</i>
apologised for giving the record a five-star rating. Albarn himself has tended
to take a dim view, calling the record “messy” (though this is almost entirely
due to Coxon’s extremely deliberate anti-commentary; his guitar whines like an
about-to-be-electrocuted elastic band throughout “Fade Away”).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Nobody
should have apologised for hailing <i>The Great Escape</i> as the absolutist masterpiece
that it was, and remains. Gurney Slade tries his hand at various things, only
to be finally reduced to the level of ventriloquist’s dummy. His creator made
the great escape, via the West End and Broadway, to magic America.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The Great
Escape <i>as Epilogue</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">This tale
does not go only to here; it pauses, but those three dots that Blur put after
the words “The End…” generate sufficient breeze to carry its words to you.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The Great
Escape <i>as Afterword</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Doesn’t
that cover, and much of the record’s content, remind you of something? “I’m
Mandy, Fly Me” as the as-yet-unseen shark comes for the arc of that diver? I
knew I could get 10cc into here somehow…</p><p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p><p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>The Great Escape <i>as Envoi</i></b></p><p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p><p class="paragraph" style="text-align: justify; vertical-align: baseline;">Stanford Brook is located on the border between Hammersmith, which is palpably part of London, and Chiswick, which despite its W4 postcode is quite clearly not "London." That could count as a canny escape, if not a great one.<br /></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><i>(With
apologies to Carmen Maria Machado)</i></p><p class="paragraph" style="text-align: justify; vertical-align: baseline;"><i> </i></p><p class="paragraph" style="text-align: justify; vertical-align: baseline;"><i> </i></p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-61063740816648874622021-05-26T11:27:00.004+01:002021-05-26T16:31:33.525+01:00LEVELLERS: Zeitgeist<div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/d/d5/Zeitgeist_(album).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="240" src="https://upload.wikimedia.org/wikipedia/en/d/d5/Zeitgeist_(album).jpg" /></a></div><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;"><i> </i></span></span></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;"><i>(#535: 16 September 1995, 1 week)</i><br /></span></span></span></p><span style="font-family: times;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><b><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">Track listing: </span></span><span style="color: black; font-size: small;">Hope St./The
Fear/Exodus/Maid of the River/Saturday to Sunday/4.am/Forgotten
Ground/Fantasy/P.C. Keen/Just The One/Haven’t Made It/Leave This
Town/Men-an-Tol</span></span></b></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><b><span style="font-family: times;"><span style="color: black; font-size: small;"><i>(Author's Note: piece written by Lena and edited and published by me) </i><br /></span></span></b></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"></span><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">In
the general tide of music that this tale has encountered recently,
there have been those who fit in with what might be called ‘the
mainstream’ and those who are called
‘Britpop’ – even if they don’t want to be.<span> </span></span></span><span style="color: black; font-size: small;">By this time it was a scene that was already decided upon, promoted, even had its own chart battle.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">It was a scene that very
much liked to celebrate itself, save for a few who really were in it for
the music and made a point of this by continuing to go their own way.</span></span><span style="font-family: times;"></span><span style="font-family: times;">
</span><span style="font-family: times;"></span><span style="font-family: times;"></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">And
then there was The Levellers, a band from Brighton which had nothing at
all to do with ‘Britpop’ – they weren’t hip, they weren’t cool, they
most certainly did not
hang out at The Good Mixer hoping someone might notice them.<span> </span></span></span><span style="color: black; font-size: small;">The Levellers
belonged to a different scene altogether –that of the people, the folk,
the ‘crusties’ who lived on the land and who were naturally associated
with the Roma or Travellers (not that the latter
were fans, so far as I know – it’s the principle of living apart from
society that is the same).</span><span><span style="color: black; font-size: small;"> </span></span></span></p><span style="font-family: times;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">This
album got to the top based on their fanbase (and a televsion commercial which the
band didn’t want*) alone. They had topped the bill at Glastonbury in ’94
so their management
had every right to big up <i>Zeitgeist</i>, which isn’t really like anything
folk-rock I have heard before.<span> </span></span></span><span style="color: black; font-size: small;">It is very much a rock album with folk folded in – or is it the opposite?</span><span><span style="color: black; font-size: small;">
</span></span><span style="color: black; font-size: small;">It really is all of a piece, something not done this well since the days of Steeleye Span or Fairport Convention.</span><span><span style="color: black; font-size: small;">
</span></span><span style="color: black; font-size: small;">This is the sound of
Brighton on a weekend – a place of freedom, alternate politics (I sense
not just Green but Extinction Rebellion roots here) but also tussles
with The Man (“P.C. Keen”) and a very sharp awareness
of how tough it is to stay on the outside and not succumb to ordinary
politics as usual (“Fantasy”).</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">There is what I think might
be called a roundelay about getting wasted (“Just The One”). At the
bottom of all this is a restlessness (a quality common to a lot of music
what I might call the Southern Coast bands have
in common) that is there and will not go away, as the chorus of
Men-an-Tol says:</span><span><span style="font-size: small;"> </span></span><span style="color: black; font-size: small;">“Here amongst the city
lights/The feelings not so clear/Faceless towers and neon signs/Hide
what I hold dear/But it’s there to find if you don’t live in fear of
it.”
</span></span></p><span style="font-family: times;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">The
Levellers are thus dreamers as well as realists, spiritually rooted out
in the countryside (in this case Cornwall) and dedicated to an Other
Life.<span> </span></span></span><span style="color: black; font-size: small;">You could say the
same about Cornwall’s own Aphex Twin, or Scotland’s Arab Strap, Mogwai, Delgados or
Belle and Sebastian – none of them part of Britpop, all of them very
much working as collectives of sorts, none of
them hip.</span></span></p><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="color: black; font-size: small;">But there is something more important than hipness working here.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">I have read two memoirs by young women who worked for the Obama administration –
</span><i><span style="color: black; font-size: small;">Who Thought This Was A Good Idea?</span></i><span style="color: black; font-size: small;"> by Alyssa Mastromonaco and
</span><i><span style="color: black; font-size: small;">From The Corner of the Oval</span></i><span style="color: black; font-size: small;"> by Beck Dorey-Stein.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">They are quite different women in different areas of work in the White House but they both love jam bands.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">Jam bands are collective efforts that call on everyone to pull together – their music is hopeful, it
</span><i><span style="color: black; font-size: small;">gives</span></i><span style="color: black; font-size: small;"> energy.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">They do not exist outside of their own communities because in a way they are their own community.</span><span><span style="color: black; font-size: small;"> </span></span><span style="color: black; font-size: small;">Of course they want to be popular, but in their own way and time.</span><span></span><span style="color: black; font-size: small;">And so people are drawn to
them (and The Levellers) as music that bolsters their spirit, music that
does not pose or talk down to them, music that accepts you as you are,
as long as you are willing to accept it.
</span></span></p><span style="font-family: times;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span style="color: black;">I
do not think any future Blair government staff were going around as
Levellers fans though; while it is not confrontational punk rock
(despite Joe Strummer being a big
and vocal fan - he guested on the single remake of "Just The One") it is not what I think is called ‘noodly,’ nice folk
either.<span> </span></span></span><span style="color: black; font-size: small;">There is a rush of salt air off the water here, lonely winter days, a longing for the sun. “</span><span style="background: white none repeat scroll 0% 0%; color: #222222;"><span style="font-size: small;">Everyday
I look at you</span></span><span style="color: black; font-size: small;">/Dressed up in your ties of blue/Saying there's not much that you can do</span><span style="color: #222222;"><span style="font-size: small;">/<span style="background: white none repeat scroll 0% 0%;">To
help the kids on Hope Street</span></span><span style="font-size: small;">.”</span><span><span style="font-size: small;"> </span></span><span style="font-size: small;">That was a hit song, but since when do the
Levellers get played on the radio now, as part of what I could call
<i>Official 90s Chart Nostalgia</i>?</span><span><span style="font-size: small;"> </span></span><span style="font-size: small;">This tale is in part here to remind you of
what is still there outside of those compilations and stations, the
brilliant this and the gorgeous that.</span><span><span style="font-size: small;"> </span></span><span style="font-size: small;">The Levellers are out there, still stading
by their ideals of one way of life being their own, apart from the
acceptable, digestible and usual.</span><span><span style="font-size: small;">
</span></span><span style="font-size: small;">They still long for that other place, but how easy is it to get to the other place, and what happens when you get there?</span></span></span></p><span style="font-family: times;">
</span><span style="font-family: times;">
</span><p style="margin: 0cm 0cm 10pt; text-align: justify;"><span style="font-family: times;"><span style="background: white none repeat scroll 0% 0%; color: #222222;"><span style="font-size: small;">*<i>Zeitgeist</i></span><span style="font-size: small;"> got to the top the week after it was released due to a television commercial.</span><span><span style="font-size: small;"> </span></span><span style="font-size: small;">The band themselves would rather it had been the remarkable overnight compilation album
</span><i><span style="font-size: small;">HELP</span></i><span style="font-size: small;">, but it was not eligible as it was classified as a "Various Artists" compilation.</span><span style="font-size: small;"><span> </span><i>HELP</i></span><span style="font-size: small;"> is thus as much an outsider
album in its way, especially since Radiohead are on it, who are only
harbingers of the whole way-out-is-the-way-forward end-of-'90s scenario.</span></span></span></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-24329495864575833772021-05-21T10:31:00.006+01:002021-05-21T10:50:37.781+01:00The CHARLATANS: The Charlatans<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/3/37/Charlatans4thlpcover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://upload.wikimedia.org/wikipedia/en/3/37/Charlatans4thlpcover.jpg" /></a></div><br /><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt;">(#534: 9 September 1995, 1 week)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Track
listing: Nine Acre Court/Feeling Holy/Just Lookin’/Crashin’ In/Bullet
Comes/Here Comes A Soul Saver/Just When You’re Thinkin’ Things Over/Tell Everyone/Toothache/No
Fiction/See It Through/Thank You</b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">In <i>that</i>
singles chart of August 1995 – you know the one, the arena for that “historic”
chart “battle” – bringing up the humble rear at number 12 was “Just When You’re
Thinkin’ Things Over.” It’s always the way, isn’t it; you make your plans and
some flash, smarmy gits veer up on the outside lane and swiftly overtake (at
the time I was secretly hoping that The Original’s “I Luv U Baby” would outsell
both of those “classic pop singles” and become a real party-pooper).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">By far
the most interesting moment on the third Charlatans album is the first one, or
at least the first bit of the first one; a tape recording of the Jesus Army singing
and tambourining their thing at Oxford Circus, a bus pulls up and the music
almost instantly kicks into a lethal groove. “Nine Acre Court” is a word-free world-indie-dance
chant in the Transglobal Underground mode, and the high-pitched voice you hear throughout
it is not that of Tim Burgess, but of the drummer Jon Brookes.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It is probably
entirely characteristic that the best (and, typically, least typical) track on
this album is one of two (the bookending “Thank You” is the other) which do not
involve Burgess at all. I suspect that his main contribution to the gaiety of
the world is going to be remembered as his ongoing Tim’s Listening Party set-up,
which in the enforced absence of live performances helped many music lovers get
through the pandemic, and I am sure that he is a fine human being in many ways.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">But the
central problem with The Charlatans here is the same one which <a href="http://nobilliards.blogspot.com/2016/08/the-charlatans-some-friendly.html">Lena previously identified</a>; a group too ensnared by rock history to transcend it, who are, as
she says, perfectly content to paddle around in the paddling pools of “heritage”
rather than try to take the story forward (or even interestingly sideways).
This is really unexceptional meat-and-potatoes indie-rock, as a look at the song
titles alone will tell you – “Lookin’,” “Crashin’,” “Thinkin’,” all tethered inoperatively
to received notions of Rock History (as is the record's ghastly <i>retro-nuevo</i> cover).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The band
stuff themselves with far too much suffocating <i>respect</i> for the record-collecting
past when they should be seeking to blow it apart and afresh. Imagine fifty or
so minutes of the actual Primal Scream moments on <i>Screamadelica</i> and you’ll
get the stolid idea; drearily loping rhythms which imagine themselves to be The
Faces or maybe (given the keyboard element) Little Feat, and Burgess’
unbearable post-Gillespie whine – on “Just Lookin’,” he sounds as though he’s
trolling Liam Gallagher.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">“Toothache”
is a would-be epic guitar/organ workout described by one seemingly semi-literate
chronicler as being “driven along by filthy blues supplied by the hot, wired
[Rob] Collins (a particularly inapt metaphor, given the eventual fate of the hapless
organist), crashing the songs <i>(sic)</i> with powerful riffing alternated <i>(sic)</i>
with catchy as fuck <i>(sic)</i> guitar riffs.” It is actually five-and-a-quarter
minutes of Racey pretending to be the Jimi Hendrix Experience.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Ultimately
<i>The Charlatans</i> gets in the way rather than carving a way out. And I have
been far harder on them than on Boyzone because they, and their misled
adherents, think they’re far, far better. And I would have much rather written
in this space about Goldie’s monumental <i>Timeless</i>, but that came out in
the same week as the <a href="http://nobilliards.blogspot.com/2021/05/black-grape-its-great-when-youre.html">Black Grape album</a> and only peaked at number seven. You’ll have
to pay me if you want <i>that </i>written up.</p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-36230777045317905762021-05-20T11:34:00.002+01:002021-05-20T12:20:28.415+01:00BOYZONE: Said And Done<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/c/c6/Boyzonesaidanddone.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://upload.wikimedia.org/wikipedia/en/c/c6/Boyzonesaidanddone.jpg" /></a></div><br /><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt;">(#533: 2 September 1995, 1 week)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Track
listing: Together/Coming Home Now/Love Me For A Reason/Oh Carol/When All Is
Said And Done/So Good/Can’t Stop Me/I’ll Be There/Key To My Life/If You Were
Mine/Arms Of Mary/Believe In Me/Father And Son</b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">When
Louis Walsh set about auditioning and recruiting the members of Boyzone in the
Dublin of 1993, his declared ambition was to form the “Irish Take That,” and,
like Take That, the band – as their very name would indicate – gathered their
initial experience performing in gay clubs and pubs; their early, atypical appearance
on RTE’s <i>The Late, Late Show</i> confirmed these initial aims.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Some of that
residual high energy is intermittently evident in their first album. “Together,”
if taken as a mid-nineties post-House club banger, is really not bad at all,
showing determination and purpose. Aptly, given the <a href="http://nobilliards.blogspot.com/2021/02/take-that-everything-changes.html">Take That template</a> to even
out, “Believe In Me” pursues the mood and setting of “Pray.”</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Mostly,
however, this is fastidiously-tooled, easy-on-the-ear, middle-of-the-road pop;
it is, however, salutary that the band members get co-composer credits on many of these
songs (although it clearly took pros like Ray Hedges and Martin Brannigan to
help knock the ideas into a commercial shape). The music, to my ears, takes a
step up whenever Stephen Gately is up front – he does a very convincing Michael
Jackson on “Can’t Stop Me,” and his counter tenor, balancing out Ronan Keating’s
gruff authority on the record’s most intriguing song, “Oh Carol*,” helps escort
the performance into areas of androgyny.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">(*Pointedly
far more harmonically intriguing than the group’s usual work, “Oh Carol” was co-written
by Hedges with Des Dyer and Clive Scott, of the seventies group Jigsaw, who in
themselves also composed some of that decade’s oddest pop songs, including Candlewick
Green’s “Who Do You Think You Are?”)</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">I have to
be honest (because what is the point of this tale if I am not?) – this is not
my type of musical thing at all. I did not purchase or listen to this record out
of personal preference. But then again, this record, in keeping with the band
as a whole, is not meant for people like me at all.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Boyzone
are essentially for young teenage girls, growing up and gradually finding out
things about the world and themselves, who are aware of the existence of
something called love but are not yet fully confident about assimilating it. To
help them do that, this pop music acts as a gentle guide, comforting and
reassuring them about the absolute and central importance of romance in the world
of love, offering them a hand of premature, and perhaps parental, compassion (many
Boyzone consumers were parents, buying the records, videos, tour tickets and merchandise
for their kids). A beneficent escort towards adolescence is what this sort of
pop offers those who decide to love it; the loving gaze which Gately bestows to
the camera – to his <i>audience </i>– at the beginning of the “Key To My Life” video,
before the song has even begun playing – emphasises this very vital intention
of reassurance.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Walsh’s
marketing was typically very canny. There are three cover versions here, one of
which gave the band their first hit single, all of which are from the seventies
– thus giving the fans’ parents a sense of inclusive identity and continuity
with songs they recognise, perhaps from their own youth. It is pointless to say
that, for instance, this “Arms Of Mary” might iron out most (although,
crucially, not <i>all</i>) of the complex and affecting chords of the Sutherland
Brothers and Quiver original, because the Sutherland Brothers, like Cat Stevens
and the Osmonds, probably mean nothing to the children of the nineties, even as
they might mean everything to their parents (aren’t they nice, doing those old
songs we know so well?).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The
Osmonds act as a useful parallel, though. It is equally fruitless to ponder on
the syntactical defect at the heart of the lyric to “Love Me For A Reason” and
skip over its three equivalents near the core of the contemporaneous <a href="http://nobilliards.blogspot.com/2012/01/the-stylistics-best-of-stylistics.html">“You Make Me Feel Brand New”</a> because, to those of whichever generation loves either or
both of these songs (Johnny Bristol or Thom Bell; your call), it <i>simply does
not matter</i>; both songs bestow their intended effects, and both bands were
there for their identical demographics at the time when they were <i>needed</i>.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">This record
ends with “Father And Son,” the song Ronan Keating performed at his audition to
become part of Boyzone. If its words sound rather premature coming from someone
who was no more than sixteen or seventeen at the time, then remember that Cat Stevens
wrote the song when he was barely twenty. Keating’s interpretation does little for
me, but I cannot ignore the fact that his rendition of the song onstage frequently
moved the band’s audience to tears.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Boyzone
are going to become regular visitors to <i>Then Play Long</i>, as eventually will
Keating as a solo artist. My reception may find its undue limits; there is only
so much one can say about what is essentially a well-fashioned formula. But the
tentative, and hopefully inclusive, tone of my review may come as a welcome
relief from the red-nosed clowning of the “I don’t like this so it’s no good” anti-school
of music criticism which certain writers have made tiresomely familiar. Allow me
to conclude with a triad of premises from Neale Walsch’s 1995 book <i>Conversations
With God</i>, the importance of which was <a href="https://www.irishtimes.com/news/in-love-gately-neatly-turns-the-tables-on-straight-expectations-1.231898">certainly acknowledged</a> by Stephen Gately:</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">“All
things are one, there is no polarity, no right or wrong, no disharmony, but
only identity.”<br />
“We are not here to learn anything new but to remember what we already know."</p><p class="paragraph" style="text-align: justify; vertical-align: baseline;">“<i>One
cannot understand one thing unless he or she understands its opposite.</i>"</p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-10978456976234276182021-05-19T11:29:00.002+01:002021-05-19T11:29:19.725+01:00BLACK GRAPE: It’s Great When You’re Straight…Yeah<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/6/61/BlackGrape_GreatWhenYoureStraightYeah.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="195" data-original-width="200" src="https://upload.wikimedia.org/wikipedia/en/6/61/BlackGrape_GreatWhenYoureStraightYeah.jpg" /></a></div><br /><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hashtag"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">(#532: 19 August 1995, 2 weeks)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"> </span></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Track
listing: Reverend Black Grape/In The Name Of The Father/Tramazi Party/Kelly’s
Heroes/Yeah Yeah Brother/A Big Day In The North/Shake Well Before
Opening/Submarine/Shake Your Money/Little Bob</b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The Stone
Roses don’t make it into this tale – or at least haven’t yet done so – but two
of Happy Mondays, possibly the most important two, do, along with three members
of the Ruthless Rap Assassins, the guitarist from Paris Angels and the assistance
of a former member of Altered Images (Stephen Lironi co-produces with L.A. studio
stalwart Danny Saber – who also contributes bass, along with one Anthony Guarderas
- and Shaun Ryder). So you could call this <i>Madchester’s Revenge</i>.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Or you
could just go with the 1995 flow and call it a bloody great party album. It is
fair to say that nobody was expecting Shaun Ryder, or for that matter Bez “Bez”
Bez (as he is credited on the album sleeve, with “Vibes,” though not in the
Milt Jackson sense), to rise again like a baggy phoenix, but that is exactly
what he (they) did, and it was a much more satisfying and gladdening welcome-back
than those of certain overly-gnarled veterans.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">“Reverend
Black Grape” hooked me the first second I heard it, and became one of those
singles I had to spin on several dozen consecutive occasions to impale myself
on its vinegary brilliance. It just contained everything I was looking for in summer
’95 pop; my eyes blinked and my jaws gasped repeatedly at second after second of
invention and newness.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The
greatest thing about “Reverend,” and indeed Black Grape, is its proudly unapologetic
nature. As everybody noted at the time, Ryder gargled like Grampa Simpson, but his
was a gargle of newly-freed exultation. With Paul “Kermit” Leveridge goosing up
the pulpit, and samples from H*tler (still a “WTF?” moment at the time, fifty
years on) and a prematurely crusty-sounding Conservative MP*…</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">(*Sir Tom
Arnold, representing the Greater Manchester constituency of Hazel Grove, who in
1994 was not yet fifty – yet shares my birthday – but who was not having a go
at rave culture as such. In fact he was replying in Parliament to John Major
with regard to the latter’s article on the European Union, published in <i>The
Economist</i> in March 1993, in which the then-Prime Minister stated: “I hope
my fellow heads of government will resist the temptation to recite the mantra
of full economic and monetary union as if nothing had changed. If they do
recite it, it will have all the quaintness of a rain dance and about the same
potency.” This was in relation to the proposal for a common currency throughout
Europe.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Sir Tom’s
full question to Major was: “I invite my right hon. Friend to use the time
between now and the start of the intergovernmental conference in 1996 to
persuade our partners in the European Community to adopt a moderate rather than
ambitious agenda. <i>Does he agree that a stately minuet would be preferable to
the rain dance</i> that he described in his celebrated article in <i>The
Economist</i> one year ago?” Sir Tom was, and is, firmly pro-Europe.)</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">…”Reverend”
radiated with the return of dizzying, thrilling excitement to pop. It was as
though <i>Screamadelica</i> had been resuscitated and upgraded. Ryder and
Kermit compete amiably and loudly to outdo each other’s exhortations, and
harmonica, tambourine and demonic slide guitar are violently shuffled into
action, rendered from dreary cloisters of worship. It was more “Loaded” than <i>Loaded</i>.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">“Reverend”
is the album’s highlight, but it hardly dips in quality or thrills from there. “Kelly’s
Heroes” is a fairly acerbic glare at burned-out “celebrities” dressed up as a school
playground conversation. “Tramazi Parti” and “Submarine” shuffle with genuine swing,
as opposed to cut-and-paste “authenticity.” “Yeah Yeah Brother” (Michael Corleone
tells Fredo he knows it was him on the Haçienda dancefloor) and “Shake Well
Before Opening” (one of the best uses of the “come and have a go if you think
you’re hard enough” trope in pop, and <i>of course</i> Robbie Williams was
taking notes). “A Big Day In The North,” in all its ominous glory, contains the
second-best use of a Serge Gainsbourg sample in pop (the best, as every pupil
knows, is MC Solaar’s “Nouveau Western”).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">“Shake Your
Money” is a wondrously damaged midtempo groove which Ryder systematically
undermines and randomises. As well as anticipating (and surpassing) the mores
of later Oasis (purposely non-sequitur but apt-sounding lyrics, unashamed musical
borrowings from random sources), it is Black Grape’s scruffy scattergun of playfulness
which puts them a league above Primal Scream and The Charlatans insofar as they
are not weighed down by fatal “respect,” are capable of avoiding the Record
Collection Rock <i>cul-de-sac</i>.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The
enjoyably stuttering closer “Uncle Bob” joins the important dots with <i>Pills 'n' Thrills and Bellyaches</i>, and Ryder’s final words may run backwards but
there is nothing backward about Black Grape’s music – unless you interpret
their art is going back to the future, or simply (or complexly) going back to
what provoked you to give a damn about pop music in the first place. “In the
name of YOUR Father and YOUR Holy Ghost!” Shaun Ryder might have metaphorically
died many times for somebody’s sins – usually his own - but not ours. As for Kermit,
Psycho and Ged – no, it really <i>wasn’t</i> a dream, other than the exciting
dream of now and tomorrow which was so tangible in the 1995 air. How absolutely
fucking glorious it was to be so alive and so receptive in that age.</p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-44779460425204629422021-05-18T11:28:00.000+01:002021-05-18T11:28:01.075+01:00SUPERGRASS: I Should Coco<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/f/f0/I_Should_Coco.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="323" data-original-width="325" src="https://upload.wikimedia.org/wikipedia/en/f/f0/I_Should_Coco.jpg" /></a></div><br /><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">(#531: 29 July 1995, 3 weeks)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"> </span></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Track
listing: I’d Like To Go/Caught By The Fuzz/Mansize Rooster/Alright/Leave
It/Lenny/Strange Ones/Sitting Up Straight/She’s So Loose/We’re Not Supposed
To/Time/Sofa (of My Lethargy)/Time To Go</b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">I knew
Supergrass had form. Two of them, Gaz Coombes and Danny Goffey, had been in a
post-C86 indie band called The Jennifers at an absurdly early age and I don’t
know how many times I saw them playing second or third support at the Jericho
Tavern. They put out a couple of very decent E.P.s on cassette which some Oxonians
(<i>never</i> “Oxfordites”; do you mind?) may remember being heavily advertised
on posters around Headington (as was their sole single for Nude Records, 1992’s
“Just Got Back Today”).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The Jennifers
didn’t get very far in the end, however, and effectively ended when two of its
members opted to go to university. Coombes and Goffey wondered what to do for a
bit, and Goffey worked for a bit in the Harvester restaurant on London Road in
Wheatley, where he met Mick Quinn, who was swiftly recruited to form a trio*
which initially was going to be called Theodore Supergrass. Perhaps the
abbreviation was just as well.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">(*From early
1995, there was an unofficial fourth member, Gaz’ keyboard-playing brother Rob
Coombes, whose piano and organ make <i>I Should Coco</i> even less dispensable,
although he himself did not become a formal member of the band until 2002)</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It's
important to remember that Wheatley is not quite Oxford, but not in the same
way that Radiohead’s Abingdon is nearly but not Oxford. Come off Junction 8 of
the A40 and you will basically be heading for the Wheatley Roundabout. On your
right the tallish building that you see is the library on the Wheatley Campus
of Oxford Brookes University which is where Laura worked (at least some of the
time).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Enough
of the Travel Guide</b> <i>okay</i></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The point
is that Supergrass kept a certain distance from “Oxford” (though not that much
of a distance; we regularly used to see them hanging around outside the dole
office on Park End Street, across the road from the train station, of a Wednesday
afternoon) and in much the same way they keep a particular distance from Blur and
Oasis and all of those sorts of symbols. Hence the paired “I’d Like To Go” and “Strange
Ones,” which refer to each other (both songs are about certain people the band
used to see wandering up, or mostly down, the Cowley Road, and I know exactly
which people they’re singing about), are superficially like Graham Coxon’s idea
of Blur, but stretch some way beyond that template and take unexpected structural
diversions.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The
default setting for the younger Supergrass was frantic but melodic pop-punk, probably
closer to Jilted John than Pete Shelley – witness the glorious helter-skelter
whingeing of “Caught By The Fuzz” or “Sitting Up Straight” (if you ask me, and
even if you didn’t, not enough bands write songs about being told to sit up straight
at the back of the bus and they’d be much better bands if they did – and yes, I
know which bus they’re talking about and even who the driver is. <i>Everyone</i>
who took the [REDACTED] in the nineties knows who he is). Or else there would
be nods to other, unlikely influences – Madness at the beginning of “Mansize
Rooster,” Throwing Muses <i>passim</i> throughout “She’s So Loose” – before the
eager chassis of loud thrash took the lead.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">But that,
of course, wasn’t all that Supergrass was about. To most people they are only
about their most famous, and to the band their most awkward, song. In truth, “Alright”
was only ever meant as a throwaway, partially satirical look at wacky times
spent around the age of thirteen. However, as I’m sure the band fully know, music
takes on many new lives when you release it into the air, and so “Alright”
became – whisper it <i>very</i> candidly and cautiously – an “anthem.” It was
the very hot and exceptionally pleasant summer of 1995, the immediate
pre-imperial phase of “Britpop,” and, much as Ian MacDonald rhapsodised about The
Beatles and “The Sixties” in that important Britpop manual <i>Revolution In The
Head</i>, I have to say that, unless you were aged between, say, 12 and 35 in
1995, you will have no clear or direct idea of what MacDonald called the “sunny
optimism” which defined that time.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Everything
in the summer of 1995 Britain was made to seem…<i>new</i> again. Exciting,
colourful, compelling. Nobody took much notice of the period’s Conservative
government; everyone was patiently and happily waiting for Blair to take over.
And if you were a young person waiting for something approachable to happen, then
Supergrass careering around like The Banana Splits (much more so than The Monkees)
in the video for “Alright,” not to mention the teeth-brushing amiability of the
song’s lyric and the cheeky Shadows pastiche in the instrumental break, was a trillion
times more thrilling than boring old Bon Jovi.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">So “we
are YOUNG” became an instant call-sign for the next generation who most
assuredly weren’t going to mess life up, even in the way in which my generation
has managed it. It was “Alright” which made Spielberg think of doing a Supergrass
cartoon television show. The song heralded, and soundtracked, the working draft
for a fresh start.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Yet “Alright”
is the song about which Supergrass themselves have remained most ambivalent.
When performed live, they tended to slow down the bridge to provide a more
ambiguous conclusion to the song (which also helped divert listeners from that
bridge’s immense structural debt to the work of their least likely ancestors,
Supertramp – Coombes does sometimes have a touch of the Roger Hodgson about his
singing) and from the late nineties excised the song from their live act.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">What this
means in the context of <i>I Should Coco</i> is that youthful ebullience is
tempered by an autumnal uncertainty about where to go next, if not to
adulthood. As a single, “Alright” was markedly paired as a double A-side with
the slow, reflective and languid “Time” (as though to say: “but we’re also GROWN
UP!”). Meanwhile, the concluding “Sofa (of my Lethargy)” is basically an
extended slow jam to demonstrate what good musicians they actually are
(especially Danny Goffey’s drumming – along with Cast bassist Peter Wilkinson,
Goffey is possibly the most proficient musician to emerge from the “Britpop”
chimera) and also a signpost to mark where they are heading. The concluding “Time
To Go” signoff is unexpectedly poignant, as though they know they are leaving
youth behind and becoming they know not yet what.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Later
Supergrass work continued the drift towards autumnal melancholy (“Late In The
Day,” “Moving”) with the occasional explosive reminder of old (“Richard III”) and
the occasional pop curveball (“Pumping On Your Stereo”). <i>I Should Coco</i>
was their only number one album, bought in large part by people who saw or
heard “Alright” and wanted more (or so they claimed).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">But the
record is not free of threat. Its most disturbing moment is the sped-up, 78 rpm
nightmare of “We’re Not Supposed To” (“make friends with you” – what can <i>that</i>
mean? If you know your Barton from your Blackbird Leys, you will know). Are
these Pinky and Perky in hell – or the premature protests of a paranoid
android? </p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-85052569339059274392021-05-17T15:11:00.000+01:002021-05-17T15:11:06.247+01:00BON JOVI: These Days<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/f/fc/Bon_Jovi_-_These_Days_(1995)_Front_Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://upload.wikimedia.org/wikipedia/en/f/fc/Bon_Jovi_-_These_Days_(1995)_Front_Cover.jpg" /></a></div><br /><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">(#530: 1 July 1995, 4 weeks)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"> </span></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Track
listing: Hey God/Something For The Pain/This Ain’t A Love Song/These Days/Lie
To Me/Damned/My Guitar Lies Bleeding In My Arms/(It’s Hard) Letting You Go/Hearts
Breaking Even/Something To Believe In/If That’s What It Takes/Diamond Ring/*All
I Want Is Everything/*Bitter Wine</b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b> </b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b><i>*Additional
tracks on European and Japanese editions only</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Quadruple
platinum in Britain, which is 200,000 more than it sold in the U.S.A., and
minus their original bass player, but <i>These Days</i> showed that Jon Bon
Jovi still had something to prove, even if only that anyone remembered who Bon
Jovi were, which, happily for him, enough people did, particularly those who didn’t,
couldn’t or wouldn’t keep up with newer developments.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Jon did
his best – say what you like about his band’s mildewed centrism, but he has
never not <i>meant</i> whatever he means – to keep up, in that he’d heard of
Tool and almost certainly checked out Pearl Jam and Nine Inch Nails, or at
least saw <i>The Downward Spiral</i> at the front of his local Tower Records.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Despite
all this, the very long haul of <i>These Days</i> – twelve songs averaging five-and-a-quarter
minutes each, and that’s not including the bonus tracks – suggest a bewildered,
dungaree-sporting U2 wannabe. They sing of Big Things like <a href="http://nobilliards.blogspot.com/2015/09/phil-collins-but-seriously.html">poverty </a>(“Hey God”),
little deaths (“This Ain’t A Love Song” – and no, you ain’t PiL), even mutter
about The World Today (title song) and persuade their guitars to weep a little
more modestly (“My Guitar Lies Bleeding In My Arms”) and it mostly makes me grateful
for treble-combating paracetamol.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">There are
one or two slightly interesting touches; “Damned” at least wears its <i>Committed</i>
transfer on its sleeve, “Diamond Ring” is scuffled Hispanic balladry, and “Bitter
Wine” lumbers through the corridors of The Faces, touches base with Primal
Scream and foresees the later Oasis. On the other hand, “If That’s What It Takes”
tries its best with drone guitar whine and a stuttering vocal sample but can’t
flee the shadow of “Don’t You (Forget About Me).” “All I Want Is Everything”
sounds quite enterprising until you recognise the "Sign ‘<span style="font-family: "Segoe UI Emoji",sans-serif; mso-bidi-font-family: "Segoe UI Emoji";">☮︎</span>’
the Times" riff lurking beneath its bellicose beneficence.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">So they
are trying not to come apart, God bless them, and they speak to people that
other “cooler” musicians of this period cannot, and they push themselves as
modern. The only trouble is that even Hootie and The Blowfish had eased ahead
of them by this stage, and I challenge non-fans to recall any of these songs
two minutes after hearing them. Bon Jovi weren’t quite sure what they were any
more. Whereas Soundgarden just got on with things and trumped their entire game
with “Black Hole Sun.” Perhaps <i>that</i> is what was eating at their honest
souls.</p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-26318140177661716452021-05-13T10:54:00.004+01:002021-05-13T13:05:58.067+01:00Michael JACKSON: HIStory Past, Present and Future, Book I<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/3/35/MJ-HIStory.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://upload.wikimedia.org/wikipedia/en/3/35/MJ-HIStory.jpg" /></a></div><p></p><p class="yiv5019037811MsoNormal" style="font-family: sans-serif; font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: times;"><i>(#529: 24 June 1995, 1 week)</i></span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><b>Track listing: Billie Jean/The Way You Make Me Feel/Black Or White/Rock
With You/She's Out Of My Life/Bad/I Just Can't Stop Loving You/Man In
The Mirror/Thriller/Beat It/The Girl Is Mine/Remember The Time/Don't
Stop 'Til You Get Enough/Wanna Be Startin' Somethin'/Heal
The World/Scream/They Don't Care About Us/Stranger In Moscow/This Time
Around/Earth Song/D.S./Money/Come Together/You Are Not Alone/Childhood
(Theme From "<i>Free Willy 2</i>")/Tabloid Junkie/2 Bad/<i>His</i>tory/Little Susie/Smile</b></span></p><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;"><b> </b></span></p><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;"><b><i>(Blogger's Note: This entry was written by Lena, with formatting, some minor editing and linking done by myself.) </i><br /></b></span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;">Is fame a good thing?<span> </span>What on earth is it for, after a while?<span>
</span>Is there a reason for it, to become so unstoppable, so
tremendously powerful that you can do whatever you want to do, to
whomsoever you want to do it, and no one, not even your father, could
stop you?<span> </span>What does it feel to have that power – to hold it, wield it, enjoy it?<span> </span>What happens when you cross the line and discover there are, in fact, powers greater than you?<span>
</span></span>
</p><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;">It can be disconcerting, if not truly disturbing, to find that
you, a near-legendary figure, have the feet of modest clay after all.<span>
</span>(“Sliding backwards really eventually was too far”).<span> </span>But
what might upset Michael Jackson, were he alive now, was how he is now
being treated by many – as a relic, his music from the '70s/'80s as the
only playable radio hits, save for '90s
chart shows.<span> </span>How he is frozen in time, </span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;">
<span> </span></span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;">I will not dodge the issue: the material which comprises the second disc of <i>HIStory </i>is in large part a reaction to <a href="https://en.wikipedia.org/wiki/1993_child_sexual_abuse_accusations_against_Michael_Jackson">this</a>, and it is arguably the case that this whole album is one long exercise
in saying that he is still the King of Pop, still the benevolent and
generous patron of children,
with testimonials from Steven Spielberg and Elizabeth Taylor and photos
of him meeting Presidents and even pictures of yes, <i>children</i>, with "We
Love You Michael" and "Michael Is The Best."
</span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;">And there he is on the cover, against stormy clouds and orange
sunset light, only....it's not actually <i>him</i>. It is one of the statues
made in his likeness, much larger than life, perhaps even the one that
was sent down the Thames on a barge in mid-June,
so big the Tower Bridge had to be raised to let it through. All this,
before we even get to the music. It does not bode well, to say the
least; and I will have to tiptoe through the album song by song. I
listened to it with a profound unease. A track-by-track commentary follows:<br /></span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><b>Stop Pressurin' Me!</b></span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;">Jam and Lewis and two Jacksons, what could go wrong? Well,
"Scream" is perfectly serviceable but it feels less like a Michael song
and more a Janet one, from 1989 perhaps. It is also him complaining
about how he's going to go insane if all these lies
don't stop. HMM. </span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;">
</span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><b>Tell Me, What Has Become Of My Rights?</b></span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;">
Well at least it sort of sounds like <a href="http://nobilliards.blogspot.com/2013/02/adam-and-ants-kings-of-wild-frontier.html">Adam and The Ants</a>. There is an
offensive word in the lyrics that is strategically messed up so when you
listen to the song, you don't hear it. Jackson is being so generous
with us, giving us a whole album where his rights
and the rights of others are conflated - to himself he is "us" and to a
lot of people he was still "us" at this point. I wonder if the missing
word refers to who "they" are though? First appearance of a children's
choir, likely not the last.</span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><b>Swift And Sudden Fall From Grace</b></span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;">
The best song on this album by far, where he seems to be coming to terms
with something, or at least contemplating what that feeling would be
like, if he were to actually try to really, you know, look at himself in
the mirror. If only the whole album could
have been as lyrically modest and musically interesting and quiet as
this. But oh then what?</span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><b>Somebody's Out, Somebody's Out To Get Me</b></span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;">
Well at least The Notorious B.I.G. gets a look-in here in the vast tale of <i>Then Play Long</i>. It is too bad it had to happen this way though. Nothing like attacking someone less powerful than yourself, is there?</span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><b>What About <i>Us</i>?</b></span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;">
The only time I'm convinced Jackson is actually noticing that the rest
of the world exists and is in need of help. So much of this is Statue
Jackson feeling sorry for himself or putting his enemies down, when he
logically has no reason to do so. I mean, what
does he really have to complain about, he got the Super Bowl half-time
show in '93, right? And he married Lisa Marie Presley. "Us" here
includes Jackson, who really is trying his best.
</span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><b>Does He Send Letters To The FBI?</b></span>
</p><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;">
How dare Dom Sheldon prosecute only the most famous man in the world? <b>HOW DARE HE!!</b> The first instance of what I am going to call Trump Pop
here, and sadly it won't be the last. I feel as if Jackson is just
going to throw all his toys at me to get my sympathy.
</span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><b>Where Do Your Loyalties Lie?</b></span></p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</p><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;">I should note here that due to the, uh, events of 1993, Pepsi dropped
Jackson as its celebrity face, so to speak. You do wonder what would
have happened if he had said 'no' to Pepsi in 1983 - I mean, besides
Neil Young's not having to write "This Note's For
You." </span></p><p class="yiv5019037811MsoNormal" style="font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;"> </span></p><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><b>One And One And One Is Three</b></span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;"><span style="font-family: inherit;">
This is just Jackson trolling The Beatles, really. This was recorded in
1988 and put on here as I guess it had to go somewhere. It is not as
scary as <a href="http://nobilliards.blogspot.com/2010/01/beatles-abbey-road.html">the original</a>, but in this context has a kind of "worship me"
vibe that is so offhand as to be needing bread
to get it off the plate.</span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</div><div style="text-align: justify;"><span style="font-family: inherit;">
</span><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><b>"Badiou Are Not Alone"</b></span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;"><span style="font-family: inherit;">
If only this were a song about a French philosopher whose "burgers are
the best." I mean, this is just a Venn diagram of sketch. It was a
huge hit though, and goodness knows Jackson really needed one at this
point. That he got it due to R. Kelly I will leave
to your judgement. </span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"><b>It's Been My Fate To Compensate</b></span><span style="font-family: inherit;"></span><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;"><span style="font-family: inherit;">
I sometimes do wonder if Jackson was allowed to just be a kid at all. But he is now thirty-six, and, harsh as it may seem, putting away childhood demons
is something therapy exists for, if nothing else. It is a tough thing
to say, but your "eccentricities" are your
own and if Jackson decided to go with them and have them be his USP,
then why go though therapy to be normal? When clearly, you are born to
greatness?</span></div><div style="color: black; font-size: 12pt; text-align: justify;"><span style="font-family: inherit;"> </span></div><div style="color: black; font-size: 12pt; text-align: justify;"><span style="font-family: inherit;">Is what happened in 1993 just the inevitable end of such a
decision?
</span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><b>Then Why Do We Keep Fooling Ourselves?</b></span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;"><span style="font-family: inherit;">
A lot of people thought the whole 1993 thing was all a scam - "fake
news" and this in turn lends this album a sense of unreality. To put it
plainly - why make such a big deal of something if nothing bad actually
happened? For a newlywed who has the world
at his Statue Jackson feet, he spends a lot of time yelling at the
void. Instead of dealing with what happened in an adult way, we get
adolescent tantrums.</span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><b>Hell All Up In Hollywood</b></span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;"><span style="font-family: inherit;">
And yes, here is Shaquille O'Neal to tell us how great MJ is! It's a
sequel to <a href="http://nobilliards.blogspot.com/2014/11/michael-jackson-bad.html">"Bad"</a> but like so much of the music on this album, it is
just...<i>there</i>, signifying whatever bad-assery there is left in Statue Jackson, which after this scandal is, hm,
not so much. If it were as persuasive an album as <a href="http://nobilliards.blogspot.com/2013/12/michael-jackson-thriller.html"><i>Thriller </i></a>then
maybe things would be different. Jackson is trying to stuff the whole
world into his gigantic head, but it's simply not working.
</span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><b>Every Path You Take You're Leaving Your Legacy</b></span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;"><span style="font-family: inherit;">
This is the real Jackson trying to incorporate himself, almost literally
write himself into history. It is not subtle - there is Dr. King,
Edward Kennedy, Edison, Armstrong - no <i>no </i><b>NO </b>I said, you <i>cannot </i>do
this. There is someone always wanting to be in their
imperial phase, to go above and beyond mere music into something
world-historical. And this takes what is so lacking here: humility. Arrogant and cold, Statue Jackson has shown all along that he doesn't
belong with the (notably all-male) list of soundclips.</span></div><div style="color: black; font-size: 12pt; text-align: justify;"><span style="font-family: inherit;">One jumped out at me, one used by Single Gun Theory on the <a href="https://www.youtube.com/watch?v=TlE8UPJjvxA&list=OLAK5uy_m6OVXkleIbBIi_6Htzgrn3BXZfcEADAjg&index=12">outro </a>to
their 1994 album
<i>Flow, River Of My Soul</i>. The soundclip in question is Frank Borman's Christmas message from Apollo 8. And here are Jam
and Lewis and Jackson making this Trump Pop song about achievement and
motivation. I just wanted to start throwing things. Single Gun Theory knew what to
do with it, at least.</span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
</div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><div style="color: black; font-size: 12pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: inherit;"><b>Oh The Blood In Her Hair</b></span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></div><div style="color: black; text-align: justify;">
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span>
</div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></div><div class="yiv0829626972tF2Cxc" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><span class="yiv0829626972IsZvec" style="color: #4d5156; line-height: 1.58; max-width: 48em;"><span class="yiv0829626972aCOpRe"><span>Edgar Allan Poe — 'The <i style="color: #5f6368; font-style: normal;">death</i> of
a <i style="color: #5f6368; font-style: normal;">beautiful woman is</i>, unquestionably, the most poetical topic in the world.'</span></span></span></span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></div><div class="yiv0829626972tF2Cxc" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><span class="yiv0829626972IsZvec" style="color: #4d5156; line-height: 1.58; max-width: 48em;"><span class="yiv0829626972aCOpRe"><span>This song is done as a waltz and it certainly brought this quote to mind. So slender,
so lovely, so neglected and so very, very <i>dead</i>. </span></span></span></span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></div><div class="yiv0829626972tF2Cxc" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><span class="yiv0829626972IsZvec" style="color: #4d5156; line-height: 1.58; max-width: 48em;"><span class="yiv0829626972aCOpRe"><span></span></span></span><br /></span></span>
</div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></div><div class="yiv0829626972tF2Cxc" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><span class="yiv0829626972IsZvec" style="color: #4d5156; line-height: 1.58; max-width: 48em;"><span class="yiv0829626972aCOpRe"><span><b>You'll Find That Life Is Still Worthwhile</b></span></span></span></span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></div><div class="yiv0829626972tF2Cxc" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><span class="yiv0829626972IsZvec" style="color: #4d5156; line-height: 1.58; max-width: 48em;"><span class="yiv0829626972aCOpRe"><span></span></span></span><br /></span></span>
</div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></div><div class="yiv0829626972tF2Cxc" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><span class="yiv0829626972IsZvec" style="color: #4d5156; line-height: 1.58; max-width: 48em;"><span class="yiv0829626972aCOpRe"><span>Is
it worth it, the fame? The Statue Jackson seems to think so. But how
about all these
songs, so few of which get airplay now? The security is all in the
first album, and there will be more Jackson anthologies to come in this
tale. But for now we are stuck in the stalled car with Jackson ranting
at the wheel, talking about how he's dedicating
himself to the children, the children painted alongside him in their
national costumes like it's Disney, no bad news, the album is dedicated
to them, to the sick and dying....look at this, no look at this, the big
thing, the military thing, the praise, I am
good I am doing good, I am here, I am a real person....but if I did
anything then you can smile, I mean what did I do really, nothing, grow
up, I am only doing what I want to do and this is who I am so smile,
smile and don't cry, smile and forget, smile and
only remember years later when you read it in fiction, the man and the
minor, but smile as it's only a story, read the lyrics that is the real
thing, my version is the real version, art's like that, you are the
object, the thing, the subject, you don't count,
you're not even here, why did you do this to me, I did the bad thing
and now you're angry but why, why why, I cannot account for my actions,
so smile, you're still alive, you can still function, just avoid
anything that reminds you, including yourself</span></span></span></span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></div><div class="yiv0829626972tF2Cxc" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><span class="yiv0829626972IsZvec" style="color: #4d5156; line-height: 1.58; max-width: 48em;"><span class="yiv0829626972aCOpRe"><span></span></span></span><br /></span></span>
</div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></div><div class="yiv0829626972tF2Cxc" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><span class="yiv0829626972IsZvec" style="color: #4d5156; line-height: 1.58; max-width: 48em;"><span class="yiv0829626972aCOpRe"><span>So, is it still worth it? </span></span></span></span></span></div><div style="text-align: justify;"><span style="font-family: inherit;">
</span></div><p class="yiv5019037811MsoNormal" style="font-family: sans-serif; font-size: 11pt; margin: 0cm; text-align: justify;"><span style="font-family: inherit;">
</span><br />
</p>
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt;">(#528: 10 June 1995, 2 weeks)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Track listing: Shine On You Crazy
Diamond, Parts I-V, VII/Astronomy Domine/What Do You Want From Me/Learning To
Fly/Keep Talking/Coming Back To Life/Hey You/A Great Day For
Freedom/Sorrow/High Hopes/Another Brick In The Wall, Part II/One Of These
Days*/Speak To Me/Breathe (In The Air)/On The Run/Time/The Great Gig In The
Sky/Money/Us And Them/Any Colour You Like/Brain Damage/Eclipse/Wish You Were
Here/Comfortably Numb/Run Like Hell/Soundscape*</span></b></p>
<p class="MsoNoSpacing" style="text-align: justify;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></b></p>
<p class="MsoNoSpacing" style="text-align: justify;"><b><i><span style="font-family: "Times New Roman",serif; font-size: 12pt;">(*On the cassette edition only,
which of course was the edition I used for this piece)</span></i></b></p>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
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<p class="paragraph" style="text-align: justify; vertical-align: baseline;">A midsummer
weekend of an afternoon it was, quite sunny for a time then cloudy. I was up at
the top of Parliament Hill Fields with some friends and we ventured out of the
pub and into the open to view <i>that</i> skyline, as it was (and no longer
is). To the southwest of where we were standing you could hear music; it was coming
from across downtown in Hyde Park and at this distance I can’t remember who was
playing at the time. Consultation of the schedule reveals that it was probably
Coldplay, doing a mash-up of “In My Place” and “Rockin’ All Over The World.”</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It was
Saturday, 2 July 2005, and we were listening to the Live 8 benefit concert
(London edition). We dispersed and made our own ways home, promising to keep a
televisual eye on what was happening. But for a while we also discussed at length
that concert’s star turn (actually they were second top of the bill behind McCartney,
but anyway) Pink Floyd and what, if anything, they still meant to us, and to
life.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">That
evening, some distance southeast of Hyde Park, I watched Pink Floyd – <i>all four
of them</i> – on television and, like Tony Christie, wondered why anyone else
had even bothered to turn up. They performed <i>that</i> sequence from <i>Dark
Side Of The Moon</i> and it rendered me back towards memories as deep as a
sarcophagus.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">You see,
I couldn’t get my self (two words, it was deliberate) away from Pink Floyd.
They were so central to my musical understanding and had long since instilled
in me the notion that this was what exploration and newness should mean, that
listening to every new album should be the equivalent of stout Cortez
discovering the Pacific for the first time. They helped <i>shape</i> me. I listened
to and absorbed <i>Dark Side Of The Moon</i> at an unhealthily early age and it
helped define the world as I might perceive it.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Watching
and listening to the same four musicians – having temporarily made their peace –
playing the same music that night was almost intolerably moving, insofar as it
moved me to wonder how music had allowed itself to stray so far from this acidulously
compassionate template. It reminded me of whence I came; the preference of jazz
to rock or pop, my father’s classical references, reading <i>The Sunday Times</i>
(you could, in those days) while eating a Turkish Delight, the scent of the old
Argyle Street branch of Virgin Records, the imposition of potential apocalypse.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It made
me think of the great music which Pink Floyd helped enable – my two favourite
albums (there is <i>no</i> greater music) are directly owing to the beneficence
of one of the group’s members – and the possibilities which the early seventies
placidly proposed. Where I might be aimed, where I might venture, apart from
those golden Saturday afternoons wandering down Bath Street towards the Mitchell
Library, or up on Kelvinside, descending the long hill down towards Byers Road,
seeing the frontage of the Hillhead branch of Listen Records blinking at me as
identifiably as the flashing light included in the packaging of this double
live album.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">And there
was a pronounced symmetry to the compassion which I felt emanated from Pink
Floyd’s Live 8 performance, as though they were speaking to me of reassurance
and renewal, a timely reminder from a long-vacated home. I watched the audience,
who were weeping in communion – and this is perhaps the most profound thing that
music can do to a human being, to <i>move</i> them. The only question I asked
myself that night was the conundrum that, just because everybody says that <i>Dark
Side</i> is the greatest album ever made, doesn’t necessarily mean that it isn’t.
You know, I thought to myself…it just <i>might</i> be. Name me one greater, not
including the two that it helped to enable. You can’t. Can you?</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">I am not
convinced to this day that <i>Dark Side</i> isn’t The Greatest Rock Album Ever
Made. Well, all right; The Greatest <i>Art</i> Rock Album Ever Made. I know, this
binary grading doesn’t help, isn’t going to prevent the collapse of civilisation
– even though that is what the record, in part, is about, when it’s not about Syd,
to whom Waters dedicated “Wish You Were Here” that Live 8 night; that would have
been the <i>coup de théâtre</i>, wouldn’t it, to have had Syd come onstage and
sing the song. But poor Syd was terminally ill in 2005 and in any case would
never have comprehended any invitation, still less consent to it.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Still –
all this stillness, as opposed to permanence - here we have the bulky, blinking
double cassette edition of <i>Pulse</i> to consider. The band had not intended
to release a live album scarcely a year after <a href="http://nobilliards.blogspot.com/2021/03/pink-floyd-division-bell.html"><i>The Division Bell</i></a>, but when
it was noted that <i>Dark Side</i> was being performed in full, I suspect there
was the intent of setting historical mistakes aright, since the original
remains, at 4.3 million copies (and counting), the largest-selling album never
to have a direct <i>Then Play Long</i> entry (although there is one <i>indirect</i>
<a href="http://nobilliards.blogspot.com/2011/06/various-artists-20-flash-back-greats-of.html">entry</a>). Add to that plenty of songs from The New Album, most of their greatest
hits (though several elements of <i>The Wall</i> find their way into this “Another
Brick”) and Syd’s “Astronomy Domine,” unplayed onstage by the band since the
early seventies, as well as the extravagant packaging, and you can see…</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Well, actually
you <i>can’t</i> – and there was a video edition released in July 1995 which in
itself is not really sufficient either. It was the visuals which caused the main
problem. Because the visual effects were so elaborate and complex, it meant
that to trigger them, every performance had to be minutely precise, meaning
that there was no room for improvisation. Hence, although I do not doubt that
stalwart Floyd followers attended several of these concerts, this in essence is
a staged musical, thus comes over as rather mechanical.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">There is
also an immense hole in the record which stalwart bassist Guy Pratt, whose
father once co-wrote songs for <a href="http://nobilliards.blogspot.com/2008/10/tommy-steele-and-steelmen-tommy-steele.html">Tommy Steele</a>, cannot fill, and it is a similar
hole to that of latterday New Order – as curmudgeonly and contrarian as the
bassist might be, he is nonetheless essential to the group’s music as a whole, especially
if he is that group’s main songwriter.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It is
palpably clear throughout <i>Pulse</i> that Pink Floyd <i>need</i> the saturnine
otherness of Roger Waters, since they otherwise sound like a competent but uninvolving
tribute band (were The Australian Pink Floyd better at being “Pink Floyd”?).
The hits and album tracks run without undue interest; one glimpses a pedestrian
pompousness in parts of “High Hopes” which will lead directly to entry #579.
The closing <a href="http://nobilliards.blogspot.com/2012/03/pink-floyd-wish-you-were-here.html"><i>Wish You Were Here</i></a> encore selections crave Waters’ Formica ominousness;
this “Run Like Hell” might as well be “Run Like <a href="http://nobilliards.blogspot.com/2014/10/u2-joshua-tree.html"><i>The Joshua Tree</i></a>.” They
make “Astronomy Domine” resemble – well, something from <i>The Division Bell</i>
(whereas on <a href="https://www.youtube.com/watch?v=6Dn9WoEHs5g"><i>Ummagumma</i> </a>it sounded like little else).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Possibly
the musician who has most freedom here is backing singer Sam Brown, who cuts
admirably loose at several strategic points throughout the record and indeed at
times carries the music. But this <i>Dark Side</i> is a pallid Xerox of the
original; the impact of “Great Gig” is fatally dispersed by dividing up the
wordless, agonised improvised vocal between three singers (Brown, Durga McBroom
and Claudia Fontaine – all excellent in themselves, but here they just get in
each other’s way).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">There is
an air of scrubbed-up <i>politesse</i> about this <i>Dark Side</i> which
perhaps makes one question the motives behind the original, because it seems to
me that the album has become a convenient shorthand for not doing anything
about the world’s shit. Buy it, listen to it, smoke dubious substances to it,
make love to it (oh, I <i>know</i> all those demographics) and maybe you feel
that you’ve done your bit, been seen to care. Just don’t lift a finger to do
anything to change it, and the record doesn’t make any suggestions in that direction
either, apart from a Marina Hyde-type shrug-<i>cum</i>-chuckle about it being a
funny old world, it doesn’t matter whom you vote for ‘cos the Government always
gets in, etc.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">This compassion-at-one-size-fits-all-remove
image is exactly why punk rose up against it. The Pink Floyd, they knew
capitalism was all wrong and crooked, but, you know, they just sit in their
mansions* and mildly grumble without offering a way out (*not actually the case;
at the time the album was recorded, the band was nearly broke) as though we are
really meant to grit our teeth, bear it and vote Conservative at the next
election when no one is looking because humanity’s done for but, oh, our favourite
coffee shops…</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">A default,
go-to Compassion card of rock, like putting your spare 5p into the tin rattling
outside Woolworths. But it needs the poisoned passion of Roger Waters; otherwise,
this is a complacent <i>Moon</i> rising. Most of <i>Pulse</i> is similarly
frustrating in its immaculate manners (although, listening to the introduction
of “Time,” I marvel that it could have easily been played by <a href="http://nobilliards.blogspot.com/2012/07/the-shadows-20-golden-greats.html">The Shadows</a>), and
revisiting it for this piece was as tough an exercise as those <a href="http://nobilliards.blogspot.com/2012/03/jim-reeves-40-golden-greats.html">seemingly </a><a href="http://nobilliards.blogspot.com/2012/03/perry-como-40-greatest.html">endless </a><a href="http://nobilliards.blogspot.com/2012/07/frank-sinatra-portrait-of-sinatra.html">forty-track</a> <a href="http://nobilliards.blogspot.com/2012/08/johnny-mathis-mathis-collection.html">double </a><a href="http://nobilliards.blogspot.com/2012/08/cliff-richard-40-golden-greats.html">albums </a>which clogged this tale up in the mid-seventies.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Why do I
come down on it so hard, why is the shine on that diamond not sufficiently crazy?
For an answer, I would need to go back to that Saturday in early July 2005;
four days before London won the 2012 Olympics and for once could feel good and proud
about itself, five days before London was blown to pieces (and a friend of mine
killed, along with fifty-one other people, executed for the capital offence of
going to work) by what Jonathan Meades might describe as “resentful hicks” (although,
of course, it was nowhere near that simple).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">If,
however, you experienced London for the few weeks after that happened, you
would have seen a new, or renewed, communality, with everyone pitching in to
help, to soothe, to mourn, to regenerate, and maybe that encapsulates Pink
Floyd’s modest contribution, even if it were only to point out that, if we’re
in the same boat, the least that we can do is to help row it.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">But it is
possible that Pink Floyd will, ultimately, only represent a moment – and, in
that final arms-raised-and-linked gesture to cap their Live 8 performance, one
instinctively knew that we would never see this moment again. They were saying
goodbye to us, and good luck. There are worse ways to absent yourselves from
your audiences.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">And
perhaps their most patient and resonant farewell – for now, anyway; there is
another Pink Floyd album to come, in the fullness of time – can be found in the
twenty-two minute <a href="https://www.youtube.com/watch?v=KwNYq-c0lBw">“Soundscape,”</a> the overture to their performances which is absent
from the CD edition of <i>Pulse</i> but fills up space on the second cassette.
This is actually the group’s “Carnival Of Light,” though far less
confrontational. All we hear are…sounds, of nature, of inquisitive humanity,
the basis of Waters’ <i>Ummagumma</i> pastorales, of the sky, the sun, the uncomplicated
1971, the effects which we will re-hear in the songs themselves (e.g. the
aeroplane) – and if this indicates a benign pathway to records like <a href="http://nobilliards.blogspot.com/2010/04/pink-floyd-atom-heart-mother.html"><i>Chill Out</i></a>, <i>Space</i> and <i>U.F.Orb </i>(Pratt also performs on the <a href="http://nobilliards.blogspot.com/2020/12/the-orb-uforb.html">latter</a>), then
that is surely deliberate. But the overall impression is one of a sunny
vacancy; idle, unending childhood summers, life before elements in the world
destroyed a version of it, and – finally – space, the universe, the infinite,
the unreachable but that doesn’t mean we don’t try. That midsummer afternoon’s
scheme.</p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-57525820399541389072021-05-11T11:00:00.000+01:002021-05-11T11:00:08.745+01:00Alison MOYET: Singles<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/c/c6/Alison_Moyet_-_Singles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="316" src="https://upload.wikimedia.org/wikipedia/en/c/c6/Alison_Moyet_-_Singles.jpg" /></a></div><br /><!--[if gte mso 9]><xml>
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Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">(#527: 3 June 1995, 1 week)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"> </span></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Track
listing: The First Time Ever I Saw Your Face/Only You*/Nobody’s
Diary*/Situation*/Love Resurrection/All Cried Out/Invisible/That Ole Devil
Called Love/Is This Love?/Weak In The Presence Of Beauty/Ordinary Girl/Love
Letters/It Won’t Be Long/Wishing You Were Here/This House/Falling/Whispering
Your Name/Getting Into Something/Ode To Boy II/Solid Wood</b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b> </b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b><i>*Performed
by Yazoo, though not credited as such; on the North American edition of the
album, “Situation (UK Mix)” was replaced by “Winter Kills”</i></b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">She really
should have been the next Dusty – stretch a point for Yazoo as The Springfields
– but her record company expected the next Cilla and fucked her over. Perhaps
the Yazoo songs were the purest she was ever allowed to sound. CBS perhaps saw
her as another Elkie Brooks – a brassy but easy-on-the-ear <i>Two Ronnies</i>
regular. She spent the mid-eighties making music she hated but which was <a href="http://nobilliards.blogspot.com/2014/06/alison-moyet-alf.html">commercially very successful</a>, and which is probably the reason why this collection went
platinum. How many of its 600,000 buyers ever bothered to listen to it beyond “Love
Letters” (or skipped the #43 smash hit “Ordinary Girl,” which could almost be a
Smiths outtake)?</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The songs
on here which you don’t necessarily know are, predictably, the far more
interesting ones, if not necessarily more satisfactory. 1991’s <i>Hoodoo</i>
was a record of tentative catharsis; “It Won’t Be Long” does late-period Beatles
better than mid-period Oasis and nods in the <i>Achtung Baby</i> direction. “This
House” is a markedly French-sounding torch lament – Marc Almond could, and
should, have covered it – and, though slightly overdone in terms of its
arrangement, is probably one of the starkest expressions of unfulfilled bereavement
in this tale. “Those who only know her for her earlier works will be somewhat
bewildered at the depth of emotion displayed on the likes of the tortured 'This
House',” said a commentator who was clearly unfamiliar with “Winter Kills” nine
years earlier.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><i>Essex</i>
(1994) was sour compromise. She wanted to continue expressing herself, but her
label (now absorbed into Sony) desired quick and easy hits. Ageism and misogyny,
the twin towers of the British music industry. Hence her original acoustic
version of “Whispering Your Name” was given a dance remix makeover, a wacky video
and a heart not in it – and still radio didn’t touch it. Much of the album was
re-recorded to slide rule order, and, even in their sedated state, “Falling”
and “Getting Into Something” do offer glimpses of what might have been. “Ode To
Boy II” is a cheery, gutsy revisit of Yazoo’s febrile quietude.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Of the
new songs, the Ewan McColl cover appears to marry <i>Voix Bulgares</i>
ululations to the then-fashionable trip-hop thing, and “Solid Wood” is appropriately
solid, but far from wooden, rock. By the time <i>Singles</i> came out, however,
Moyet had had it up to there with her record company; she was finally released
from her Sony contract in 2002, and that year’s powerful <i>Hometime</i>
sounded like the elegant howl of long-suppressed liberation. In 1995, sunk in
litigation and misery, she appeared on <i>Later With Jools Holland</i> with Sinéad
O’Connor, providing backing vocals to Dusty Springfield in one of the latter’s
final television appearances. The song being sung was “Where Is A Woman To Go?”
Precisely.</p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-72074854389062320172021-05-10T10:13:00.003+01:002021-05-10T10:13:48.751+01:00Paul WELLER: Stanley Road<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/1/19/Paul_Weller_Stanley_Road_10_Anniversary.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="315" data-original-width="315" src="https://upload.wikimedia.org/wikipedia/en/1/19/Paul_Weller_Stanley_Road_10_Anniversary.JPG" /></a></div><br /><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">(#526: 27 May 1995, 1 week)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"> </span></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Track
listing: The Changingman/Porcelain Gods/I Walk On Gilded Splinters/You Do
Something To Me/Woodcutter’s Son/Time Passes…/Stanley Road/Broken Stones/Out Of
The Sinking/Pink On White Walls/Whirlpools’ End/Wings Of Speed</b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The last
time Paul Weller appeared in this tale, <a href="http://nobilliards.blogspot.com/2014/07/the-style-council-our-favourite-shop.html">a decade ago</a>, I mentioned his general
mood of pre-emptive <i>ennui</i> secondary to the knowledge that “we” had been
beaten. In 1995 he looked still to be in retreat, even though the next generation
had obligingly “brought him back” as a talisman of holy sports sock.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It was
only his Wise Old Britpop Prophet status that allowed him to be publicly embraced
again, since most of <i>Stanley Road</i> would otherwise have been slammed up
against the wall when <i>In The City</i> happened. Most of the record consists
of enervating pub-rock jamming, and although producer Brendan Lynch does his
best to spice up the atmosphere with his comedy sound effects, the music sounds
boxed in, constipated, as though Weller’s inner Mod remained reluctant to open
the curtains and allow “musicianship” to penetrate the room of puce cool. He
himself sounds sorely in need of a bowl of All Bran.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The words
are typically evasive, semi-random cracker-barrel philosophising and the music
stalwartly uninvolving. Fair enough; if you’re going to do an ELO knock-off, do
so with their best song. But the Dr John mauling (with guest guitarist Noel
Gallagher virtually inaudible) is so drearily and unfrighteningly worthy that
one ends up wanting to hear The Dooleys covering it. “Broken Stones” even
<a href="http://nobilliards.blogspot.com/2013/07/the-jam-gift.html">reaches back to The Jam</a> to somehow lesser effect. By the time we get to “Woodcutter’s
Son” we are in the land of Monty Python’s lumberjacks.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Steve
Winwood drops by to lend a hand on a couple of songs, which does betray the subtext somewhat,
namely to revisit the easy-going early seventies jam band version of Traffic. However,
Weller seems reluctant to admit that it’s the done thing to have chops, and so
we get a dusty photocopy of 1973 rather than pretence to the thing itself. The
fact that Traffic had reformed, sort of (it was essentially Winwood and Capaldi
plus a couple of guests), the year before and released a moderately more
inventive album (<i>Far From Home</i>) didn’t help matters.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">“Whirlpools’
End” almost gets somewhere but ends up too timid to pursue its ambitions – it is
more like Neil Weller and Moderately Irrational Horse (meanwhile, the actual
Neil Young of 1995 was working with Pearl Jam and produced the immensely better
<i>Mirrorball</i>). Actually, there you have the secret of the record’s success;
<i>Stanley Road</i> is the type of album Neil Godwin from <i>The Office</i>
would purchase to prove that he was still with it – in 2000. Yet the sleeve’s imagery
and its implications are what a (largely male and white) British audience
wanted in the mid-nineties; Peter Blake cover, Stax, Aretha, Lennon, George
Best, Britain Is Well Loaded Again.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Meanwhile,
on a 1995 level, I would much rather have been writing about <i>CrazySexyCool</i>
or <i>Brown Sugar</i>. I think of the stencilled poster I saw on my way into
work this morning which says: “#NOGOINGBACK ‘NORMAL’ WAS THE PROBLEM.” <i>Stanley
Road</i> is so normal that you want to throw a custard pie at it. And Weller
always insists that he was never a punk in the first place. But one of punk’s
main aims was to dethrone people like Eric Clapton. What does it tell us about
mid-nineties Britain, or indeed punk, that Clapton ended up <a href="http://nobilliards.blogspot.com/2021/04/eric-clapton-from-cradle.html">musically hipper</a> than Weller?</p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-47575954524278374762021-05-07T11:27:00.003+01:002021-05-07T11:27:46.185+01:00TAKE THAT: Nobody Else<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/7/70/Take-that-nobody-else.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="316" src="https://upload.wikimedia.org/wikipedia/en/7/70/Take-that-nobody-else.jpg" /></a></div><br /> <!--[if gte mso 9]><xml>
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">(#525: 13 May 1995, 2 weeks)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"> </span></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Track
listing: Sure/Back For Good/Every Guy/Sunday To Saturday/Nobody Else/Never
Forget/Hanging Onto Your Love/Holding Back The Tears/Hate It/Lady Tonight/The
Day After Tomorrow</b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">One of
the remarkable trends of the pre-rock singles chart in the UK was the manner in
which polite British crooners were fashioned to sound as American as possible,
manfully (or womanfully) trying to emulate the effortless sophistication of
their counterparts on a ration coupon budget with the intent of sounding
"international," even though the States were never likely to embrace
a Dickie Valentine or a Michael Holliday when Frank and Bing were still active,
hale and - in <a href="http://nobilliards.blogspot.com/2008/10/original-motion-picture-soundtrack-high.html"><i>High Society</i></a> - distinctly gay in a non-1956 sense.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Some
commentators have taken as an indication of coming full circle the equivalent
tendency over the last quarter-century or so of British groups and performers
to endeavour to appeal to an assumed international market, and in doing so
jettison every facet of them which made them British, and appealing, and
therefore different. Which brings us to the late period of early Take That.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The third
Take That album is a textbook case of lost punctum. Its unnerving cover
promises far more than the record delivers. Its opening song, "Sure,” outlines
the album’s superficially earnest attempt to appeal to the post-New Jack Swing
demographic - Gary Barlow co-produced with the Brothers In Rhythm team, and the
song bears a rare Barlow/Owen/Williams co-writing credit – but it simply
doesn't work. The group's natural charm and modest determination to be
themselves are eroded against bland international hotel lobbies of “sophisticated”
chord changes, and Barlow's voice simply isn't built to curve with the
indentures and turnarounds of 1994 R&B patterns; references in the lyric to
"positive reactions" and "compatible" sound awkward in both
construction and delivery (in contrast, something like East 17's
"Deep," though in most ways patently, if admirably, absurd, actually
does work in terms of <a href="http://nobilliards.blogspot.com/2021/01/east-17-walthamstow.html">Walthamstow roughage</a> roughing it up with a track which
very wisely kicks back to preserve both pop and would-be hip hop tendencies; it
succeeds precisely because it <i>isn't</i> in your face). But "Sure"
sounded like a shoehorned Take That and unsurprisingly became not only their
lowest-selling chart-topper but also the lowest-selling number one of 1994.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">In this
shrivelled company, it is little surprise that “Back For Good” was the only actual
hit they enjoyed in North America. When the group premiered "Back For
Good" at the 1995 BRITS ceremony, Laura and I, watching the self-same
ceremony on television, immediately exchanged glances and said "Barlow's
trying to do an Oasis"; it was the "Whatever I said, whatever I
did" which did it, as well as its having the the same general key and
tempo as the other "Whatever," and Gary Barlow has subsequently
admitted as much in terms of inspiration.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">But that
was as far as the influence went - and in any case, where would Oasis'
"Whatever" have been without the precedent of Neil Innes' "How
Sweet To Be An Idiot"? More pressing perhaps was the song's overall
feeling of something coming to an end; indeed it begins with a melancholy
Barlow, over acoustic guitar and drum machine, singing "I guess now it's
time for me to give up," and later, and slightly more loudly, "Gotta
leave it, gotta leave it all behind now."</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">"Back
For Good" remains Take That's most famous song; as I said, it was their
only major American hit, and a standard almost before Barlow had finished
writing it. The song itself is a curious lyrical mix of cliché ("a picture
of you," "lipstick mark still on your coffee cup") and wordplay
which doesn't quite attain Elvis Costello levels of dextrous verbal ambiguity
("Unaware but underlined," "In the twist of separation you
excelled at being free") and efficiently-crafted, but still distinctly
British, AoR pop considerably influenced by Cliff Richard's late seventies
work, especially in the continuous interplay between solo voice and harmony
chorus; so much so in fact that one almost regrets that Barlow didn't give it
to Cliff to sing since his own voice doesn't possess the necessary technical or
emotional range to make, for instance, the climactic line "We will never
be uncovered again" (whatever that means; does he propose a clandestine
mock-relationship of coded signs and make-do-and-mend mute acceptance?) carry
the weight he puts on it as a songwriter (again, contrast with the seventeen
different flavours of hurt Cliff finds in his voice to apply to "We Don't
Talk Anymore").</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The song
was Barlow's - very much Barlow's, rather than Take That's - attempt to do a
one-step George Michael, to cross the demographic boundaries and appeal to
anybody (as opposed to <i>everybody</i>). But there is something which doesn't really
gel in its construction; that there is a craft at work here is undeniable, that
the song moved millions even less so (depending on how you view the art, if art
be there any, of moving millions), but there is little sense of artistic or
emotional boundaries being breached; its earnest politeness prevents it from
being touched, as though "Back For Good" were an audition tape to
become the spectre which by 1995 was beginning to make a stealthy comeback -
the All-Round Entertainer. But all round what, or whom? No wonder that Robbie
Williams, who on record and video alike already seemed like a ghost in this
group, would a few years later shake the song to pieces by turning it into a
punk thrash, and place a live recording on the B-side of
"Angels"...although really it ought to have been on the flipside of
"Let Me Entertain You."</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The rest
of <i>Nobody Else</i> is mostly depressing. What is the point of trying to fit
in with this mid-Atlantic nowhere land of benign wallpaper? <a href="http://nobilliards.blogspot.com/2021/02/take-that-everything-changes.html"><i>Everything Changes</i></a>
was imaginative, lively, sometimes startling and genuinely original – it sounded
like the product of human beings. But this could be anybody; not so much Boyz
II Men as Ladz II Blokes. Yes, “Sunday To Saturday” is a decent facsimile of Jam
and Lewis (“Saturday Love” in particular), but, apart from the occasional
frisson in its arrangements (that triple vocal hiccup just before the first
chorus), no more than that, and who needs a photocopy when the real thing was
readily available? The exasperated gasp of “We’ll just start again” midway
through the title song (which commendably also attempts the love song from the
perspective of an elderly couple trope, but Barlow is no <a href="http://nobilliards.blogspot.com/2021/04/the-beautiful-south-carry-on-up-charts.html">Paul Heaton</a> – and the
lyric’s reference to “senior high” meant nothing in Britain) indicated that
they knew the game was already up.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">And “Never
Forget” confirmed it. Boy bands and teen idols tend not to be much good at
saying goodbye. There is a marked reluctance to put away those childish things
and start thinking about what’s going to put food on their table for the next
half century or so. More often than not they simply and ingloriously fizzle out
as their chart positions proportionally diminish, as they make futile too-late
stabs at credibility, or end up spending their accumulated royalties, if there
be any, on protracted court battles with elusive managers. The Monkees of
course were a case apart, as in the end were the Beatles, but by 1995 only
Wham! had approached getting it right, going out in a self-constructed blaze of
euphoria with the <i>Edge Of Heaven</i> double E.P. and the double greatest
hits collection <i>The Final</i> (a double album covering just four years of
work! How did they manage <i>that</i>?).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Alas, it would
seem that Take That weren’t terribly good at it either. The coded messages
annotating “Never Forget” in the liner note to entry #546 speak in codes of
self-denial: “…it marked a farewell to the past and embraced a new era…”; but
in terms of what it represents, not to mention the fact that it gave its title
to a 2005 repackaging of their hits (which just missed out on inclusion in this
tale), it is hard to believe that everybody involved in “Never Forget” wasn’t
fully aware that they were approaching the end.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The cover
of the “Never Forget” single featured a Photoshop montage of childhood photos
of the five members holding up a portrait of the group as they were in 1995.
"Never Forget” isn’t just about saying goodbye to one’s childhood, and
although it was not the last number one single by this particular incarnation
of Take That – an extremely peculiar epilogue was to follow in 1996 – it
sounds, from its introduction of Royal Household trumpets, crashing tympani and
ghostly choir onwards, like their Last Trump (actually it is from Verdi’s <i>Requiem</i>,
as sung by the Henllan Boys Choir with the featured voice of Alistair Stubbs).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The
involvement of those last three elements mark the involvement of Jim Steinman.
Over a sombre drone of voices, a children’s choir sings “We’ve come so far and
we’ve reached so high” before an electro setting, not far removed from Primal
Scream’s “Higher Than The Sun,” enters and Gary Barlow intones his doubts:
“We’ve come a long way/But we’re not too sure where we’ve been.”</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">And then,
for the first time on a Take That single, the lead vocal is divided five equal
ways; everyone gets to have their say, their lines, their verse. They sing of
the path they have travelled, with its faces in the moonlight, arms of
disappointment and roads going down the other side of the hill (“I understand
the meaning of ‘I can’t explain this feeling’” exclaims Mark Owen at one
surprisingly Derridean point) before they all join hands and turn towards us
for the mass chorus: “Never forget where you’re coming from/Never pretend that
it’s all real/Someday soon, this will be someone else’s dream.”</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It is an
extremely moving eulogy, with a grace and generosity bestowed on few teen
idols, past or present; a dignified farewell, a realisation of their imminent,
natural expiry date. It is not morose; the rhythm bounces along at a purposeful
mid-tempo, gradually increasing in intensity with each approaching chorus, and
there is a delightful moment towards the end when the song temporarily stops
for rounds of applause and cheers in the studio before scything sharply back
into focus.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">The
Robbie question, however, will not go away. By the time of “Never Forget”’s
single release Robbie had gone, jumped or been pushed depending on whose
manager’s account you believe, being pictured bleached, stoned and reeling with
sundry members of Oasis at Glastonbury, and one briefly wonders whether there
is going to be some Stalinist revisionism at work here to expunge his
contribution.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">But no; two-thirds of the way through the song, there he is, advising “We’re not invincible”…and then, exactly one
minute later, as the drums magnify into monstrous Tackhead beats and Steinman’s
full-throated choir make their entry, he’s seized and claimed the song for
himself – “EVERYBODY SING!” he yells, entreats, over and over, “EVERYBODY!,”
already mapping out his own plans, making no bones of who he thinks is going to
come out best out of this lot. Finally, the group take over again as a unit for
the final choruses, the waves to the balcony as they reluctantly retreat from
the stage; they fade to leave the original children’s choir, now alone – “And
we’re still so young, and we hope for more.” Or was that “hope” already in the
past tense, as in “we hoped for more”? But “Never Forget,” in its unhurried five-and-a-half
minutes or so, signifies the passing of the teen idol candle, to the next bunch
of still-dreaming hopefuls; I incidentally note that the motif “we’re only
people” would reappear a decade later in Momus’ not-that-far-removed “Hang Low”…and
that would not be alone in its surprising reappearance.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Arranger
Richard Niles tries for some <a href="http://nobilliards.blogspot.com/2015/06/u2-rattle-and-hum.html">“Left To My Own Devices”</a> magic with his string
introduction to “Holding Back The Tears,” but the song is no <a href="http://nobilliards.blogspot.com/2013/03/cliff-richard-love-songs.html">“Miss You Nights.”</a>
The experiment with <a href="http://nobilliards.blogspot.com/2014/03/the-beach-boys-very-best-of-vols-1-2.html">Beach Boys</a> harmonies on “Hate It” necessitates the
existence of a strong song to encase it. Robbie’s rapping, seemingly done at
bayonet point, on “Lady Tonight,” does not rock anyone’s mike.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Yet the album
closes, as did its predecessor, with a strange ballad sung by Mark Owen. “The Day
After Tomorrow” is a lot less strange than the ghost story of “Babe,” but
despite still sounding far too smooth for its own pain, it declares an uncertainty
as inconclusive as that expressed on <a href="http://nobilliards.blogspot.com/2009/05/beatles-hard-days-night.html">“I’ll Be Back.”</a> Owen sings the
lament like a humiliated Marti Pellow (lyrically the song is about guilt
secondary to adultery) and the music perhaps ventures too close to the Moody
Blues, whereas it should have gone more in the P.M. Dawn direction, or for that
matter the route which George Michael would shortly pursue. The song is enough
to engender questions (nobody else? Are you <i>sure</i>?) which set this a little
way above standard steel cube pop balladry. But its implication that there will
be <i>no </i>tomorrow makes one wonder why, at the <i>Hard Day’s Night</i> stage of
their existence, Take That had already opted for the long and winding road.</p>
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">(#524: 22 April 1995, 3 weeks)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"> </span></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Track
listing: Julia Says/After The Love Goes/Somewhere Somehow/Gypsy Girl/Don’t Want
To Forgive Me Now/She Might Never Know/Someone Like You/Love Is My Shepherd/She’s
All On My Mind/Morning/Home Tonight/Love Is All Around</b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">In March 1995,
The Boo Radleys and Wet Wet Wet happened to have been booked in to appear on the
same edition of <i>Top Of The Pops</i>. Seeing Marti Pellow emerge from his
dressing room, the Radleys screamed “Marti! <i>Marti!</i>,” etc., at him, in
the teenybopper style. A thoroughly baffled Pellow took one look at these
miscreants who were clearly and fully unknown to him, frowned sternly and
retreated into the dressing room post-haste.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">I find myself
baffled in a similar fashion by <i>Picture This</i>, in which the Wets appear
to have erected their white flag and surrendered to becoming the cabaret turn
that they probably all wanted to have been in the first place. These songs aren’t
quite Michael Bolton <i>schlock</i> but they are pretty uniform in nature (and
most of them sound to be in the same key). Yes, they presumably have things to
say but obfuscate them with so many misty mixed metaphors that young Conservatives
would treat them as nothing more than a benign background soundtrack to dinner
parties.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">There are
touches of country for secret Sydney Devine fans, hints of harmonic and vocal menace
in “Someone Like You” (Pellow’s prematurely-exhausted grunt of “Hell, <i>yeah</i>!”)
and a potentially very strong ballad (“Love Is My Shepherd”) which really
requires Mary J Blige to light its torch. But all of it drifts by so harmlessly
that it causes the brain harm. The subtext might be a break-up, although the
rather patronising “Julia Says” is not exactly worthy of Lou Reed at his
unworthiest.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">In any event,
the rest of the album is more or less rendered redundant by its final track.
How many times did people want their “Love Is All Around”? The nearly two
million copies that the single sold? The 900,000 copies that their <a href="http://nobilliards.blogspot.com/2021/04/wet-wet-wet-end-of-part-one-their.html">greatest hits album</a>, which ends with the same track, sold? The 750,000 copies that the <i>Four
Weddings and a Funeral</i> soundtrack sold? <i>Picture This</i> likewise went
triple platinum, anyway.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">This relentless
urge of people to purchase and listen to the same piece of music over and over
again renders me disappointed in humanity. I’m surprised the group didn’t do “The
Twelfth Of Never.” Or perhaps Anthony Bourdain offered the definitive diagnosis
of this politely determinist mindset: “And weekend diners are universally
viewed with suspicion, even contempt, by both cooks and waiters alike; they're
the slackjaws, the rubes, the out-of-towners, the well-done-eating,
undertipping, bridge-and-tunnel pre-theater hordes, in to see <i>Cats</i> or <i>Les
Mz</i> and never to return” (from <i>Kitchen Confidential</i>).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It’s those
“weekend rubes” who dominate the universe of number one albums, wanting nothing
more than minute variations on the same comforting pillow of pabulum. After
all, they pay extra for the privilege; does anyone else remember how much compact
discs cost in the nineties, and the scant change which you received in exchange
for a twenty-pound note? They want value for their hard-earned cash. It’s not
our fault that their concept of value is so transitory and shallow. A pity. Wet
Wet Wet, who vanish from this tale after today, indicate how little compromise
endures. What you do now recall more immediately; <a href="http://nobilliards.blogspot.com/2021/05/the-boo-radleys-wake-up.html">“Wake Up Boo!”</a> or anything on
<i>Picture This</i> that isn’t “Love Is All Around”?</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">A salutary
lesson for today.</p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2816470661249120432.post-6678933311419114702021-05-05T12:45:00.004+01:002022-03-05T15:59:04.804+00:00The BOO RADLEYS: Wake Up!<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/en/7/78/Wakeup_thebooradleys_cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="316" src="https://upload.wikimedia.org/wikipedia/en/7/78/Wakeup_thebooradleys_cover.jpg" /></a></div><br /><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<p></p><p class="MsoNoSpacing" style="text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt;">(#523: 8 April 1995, 1 week)</span></i></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"> </span></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><b>Track
listing: Wake Up Boo!/Fairfax Scene/It’s Lulu/Joel/Find The Answer Within/Reaching
Out From Here/Martin, Doom! It’s Seven O’Clock/Stuck On Amber/Charles Bukowski
Is Dead/4am Conversation/Twinside/Wilder</b></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">It really
struck us while listening to the second half of “Charles Bukowski Is Dead.” In
truth the suspicion had already germinated with the <i>acapella</i> introduction
to “Wake Up Boo!” – this is not really <a href="https://www.youtube.com/watch?v=tqXibjCZy5Y">“Our Prayer”</a> – and the vocal chorales
are probably multitracked Sices with a dash of Martin Carr, but Lena said: I
know which Liverpool band they remind me of most. Think of purity of spirit,
intensity of emotional commitment and that ineradicable Merseyness – and you
have, with The Boo Radleys, the natural successors to <a href="http://nobilliards.blogspot.com/2015/09/the-christians-colour.html">The Christians</a>.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Certainly
there is a lot of Garry Christian about the man who I hope will not mind if I
no longer call him “Sice,” since he is now Dr Simon Rowbottom, a very
well-respected <a href="https://www.counselling-directory.org.uk/counsellors/simon-rowbottom#accept-cookies">psychotherapist</a>. Note the first paragraph of his “About me” section,
and how it fully sums up the emotional turmoil expressed here, and expressed
for the most part by a second party, since the music and words were, and indeed
still are, those of Martin Carr, as implicitly angry a guitarist as Graham
Coxon (flashback to the penultimate episode of <i>The Prisoner</i> – sometimes the
patient and the therapist <i>change places</i>).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">He does
not have the weighty authority of Garry Christian; his is more of a persuasive
and perhaps more vulnerable voice. A lot of the time (“Reaching Out From Here,” “Stuck
On Amber,” “Wilder”) I’m reminded more of Glenn Tilbrook, though his falsetto quivers
on the choruses of “Twinside” are decidedly Bowie-esque. He articulates what Mr
Carr can only express through his guitar; the noise, the playfulness, the pain.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><i>Wake
Up!</i> is a really important album to me – indeed, the opportunity to write
about the record (and at least two others to follow in 1995) was one of the
main reasons I wanted to start <i>Then Play Long</i>. I played it yesterday on
cassette, the very same cassette I bought from Hammersmith Our Price the Monday
it came out. This means that, unlike the next two entries, I liked it <i>at the
time</i>.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">I liked
The Boo Radleys generally. I was one of the twelve people who bought their 1991
debut <i>Ichabod and I</i> – hey, if Teenage Fanclub wanted to do Dinosaur Jr
(which, on <i>A Catholic Education</i>, they most assuredly did), then why not
a Wirral variant? – and the following year’s marginally bigger-budget sequel, <i>Everything’s
Alright Forever</i>, which suffered from being at the toe-end of the shoegazing
boom but is a lot better than you might remember.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Then, in
1993, came <i>Giant Steps</i>, a phenomenal record which emerged at the “wrong”
time and in the “wrong” cultural context. I was initially (i.e., before I actually
bothered to <i>listen</i> to the record) sceptical – if you’re going to have
the nerve to name your record <i>Giant Steps</i>, it had better be nothing less
than phenomenal – but it is totally where Primal Scream should have gone after <i>Screamadelica</i>,
the irruptions of an enticing record library being shamelessly emphasised and
enlarged (because too much British pop and rock music suffers from the
self-induced curse of “shame”). It perhaps only skirts the inner suburbs of its
intended destination in its sixty-four minutes, but it’s one heck of a journey.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><i>Wake
Up!</i> brought the implications of its predecessor to fruition. <i>Giant Steps</i>
hadn’t done <i>too</i> badly, commercially – 60,000 sales are not to be sneezed
at – but there was some pressure from Creation for the band to come up with A
Hit. This they, beyond certainty, did; and “Wake Up Boo!” also proved their
curse.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">I wonder
to this day how many of the 140,000 people who bought the album bothered to listen
beyond its first track, and how many of them really understood that song in the
first place. In a spring-of-1995 sense, those questions were kind of irrelevant,
because the aura at the time was one of emerging out of winter into spring, a
new beginning – we knew Major’s Government was finished and that Blair was
patiently waiting to take over (yes, I know, but at the time it seemed like <i>hope</i>)
– and so the sound of those <a href="https://www.youtube.com/watch?v=T7J6evZ55OY"><i>Jimmy Young Show</i> horns</a> blasting through speakers
and headphones provided us with the theme for a new and better world. I had
just moved to Chiswick about two weeks before the single of “Wake Up Boo!” came
out and cannot satisfactorily replicate the amber thrills of walking down a
sunny King Street to work with this song in my head.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">All of
the required (but required by whom?) elements were present; Rowbottom’s knowingly
<i>jejune</i> vocal, the snappy beat (yup, I thought then “who’s been listening
to ‘A Solid Bond In Your Heart, then?” and was right to do so), the wake
up/beautiful morning fanfare, the twenty-five/alive rhyme which made me think
of how even Herman’s Hermits would have seemed exciting in 1965. For better,
and mostly for worse, “Wake Up Boo!” became that rarest of musical phenomena, an
actual <i>anthem</i>, a song whose emotions permeated the souls of those who
didn’t really buy records or particularly keep up with music.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">And few
of the people who loved that song were really listening to it. A summer anthem
which begins with the words “Summer’s gone” but niftily swerves expected
autumnal melancholy; the transition doesn’t bother Rowbottom at all (“To pretend
I do seems really dumb”). Nonetheless, the song is full of anticipatory dread;
wake up “for what could be the very last time,” the sarcastic guitar twittering
behind “You can’t blame me…for the death of summer”), the abrupt punk thrash
and possible Oasis trolling of the bridge from that section back to the chorus.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Carr
apparently wrote the song in his girlfriend’s flat in Preston while watching
Channel 4’s <i>The Big Breakfast</i> (whose former co-presenter, Chris Evans,
was by then on national radio and swiftly adopted the song as a Radio 1 jingle)
following a sleepless night tripping on magic mushrooms. He’s still momentarily
up for it – at least before he inevitably collapses back into bed – but the song
is actually a dialogue between the protagonist and his weary and bored partner
(hence “You have to put the death in everything,” which could emanate from either
voice). “Wake Up Boo!” runs “Born In The U.S.A.” a very close second as the most
endemically misunderstood of all pop songs.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">In some
ways, “Wake Up Boo!” is a red herring, or simply a misleadingly bright introduction
to what is, summarily, quite a dark album. There are some quiet acoustic
musings on “Fairfax Scene” – there’s more than a touch of Saint Etienne about
song titles like that – which lay the groundwork for the album’s recurring and
escalating themes of boredom, frustration and painful escape. The Johnny Arthey
at the 100 Club punk rush of “It’s Lulu” – a song about somebody else impatient
to get away – provides a temporary diversion (though bears a drifting prelude of
My Bloody Valentine-derived glide ambience).</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">“Joel” develops
the innovations of <i>Giant Steps</i> most profitably. It is drenched in <a href="http://nobilliards.blogspot.com/2009/10/beatles-beatles.html"><i>White Album</i></a> (and specifically John’s <i>White Album</i> influences – given that
the song’s subject matter is the newborn son of a friend of Carr’s, this could
pass as the band’s “Hey Jude”) but is careful to anticipate its own nuevo-retro
anatomy (“All I want is harmony/Like some outmoded sixties throwback”). It
moves through the four main stages of <i>White Album</i> dynamics splendidly –
the harsh, Leslie cabinet-soaked voice/aggressive beats duologue midway through
is rather akin to Liam Gallagher being recruited as a guest singer by Liam
Howlett – and finds its peace at the other end of its determinedly noisome
tunnel.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">“Find The
Answer Within,” which would not have disgraced the 1968 Herd, is a superb pop
song which systematically detours and detonates its bounce with increasing levels
of white-out noise – Carr’s guitars, backwards vocals etc. – and represents the
steps which fair weather fans of “Wake Up Boo!” politely refused to take (when
issued as a single, Radio 1 did put the song on their A-list, but did not take “Wake
Up Boo!” off the same list – hence the latter cancelled out the former). “Reaching
Out From Here” is heartbreaking; he is not happy, he knows that leaving is intrinsically
the wrong thing to do, but what <i>can</i> he do? He’s stuck in Preston, wants
to be with his mates in London, the place where, in 1995, it was all still
happening (as hard as it is to imagine that now – the solution for me at the
time was to keep a foot in both camps, in London and Oxford, but Oxford is a
hell of a lot closer to London than Preston). It’s all right for – whom?</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Side two
opens with a harsher variant of the “wake up” trope – trumpet (possibly synthesised)
<i>reveilles</i>, military snap-to-attention/stand-by-your-beds barks which
immediately make me think of the importance of their near-neighbours on the
Wirral, Orchestral Manoeuvres In The Dark (just how key was <i>Dazzle Ships</i>?
Together with <i>Songs From The Big Chair</i> and <i>A Secret Wish</i>, it’s probably
the most quietly, incrementally influential pop album of the eighties) – before
the singer is reluctantly forced out of bed by the total absence of
self-esteem.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">As with several
other songs on this side – “Stuck On Amber,” “4am Conversation,” “Twinside” – “Martin,
Doom!” concludes with an extended, climactic passage for trumpets and band; and
the fact that the side’s final song is called “Wilder” very strongly suggests,
not simply a huge Teardrop Explodes influence, but also a determined effort to
reproduce and evolve the dishevelled magic of <i>Wilder</i>’s second side –
think of “4am Conversation” as the band’s “Tiny Children,” “Wilder” as their “The
Great Dominions,” and so forth.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">“Charles
Bukowski Is Dead,” which serves the same purpose as Carla Bley’s “Drinking
Music” halfway through the second side of Charlie Haden’s first <i>Liberation
Music Orchestra</i> album, and which, thematically, also in part foreshadows
Saint Etienne’s song “Popular,” forms a chimerical dream in which Carr imagines
himself down at the Good Mixer, chatting and getting drunk with people who are
on his wavelength, or he on theirs. But when we reach the vaguely hellish,
repeated chant of a climax of “You'll never touch the magic if you don't reach
out far enough,” we sense that the Worried Man – for this is the real voice of <i>Wake
Up!</i>, just as it was on the first two Band albums – is demanding his own damnation.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">As with
the Mark King of <a href="http://nobilliards.blogspot.com/2015/02/various-artists-now-thats-what-i-call.html"><i>Running In The Family</i></a>, the Worried Man realises, as the
album winds towards its conclusion, that he needs to make his mind up, one way
or the other. The repeated sobs of “Don’t stay here for me” in “4am Conversation”
expose a nerve which even Alex Chilton would have preferred to keep hidden. On “Twinside,”
the Worried Man wonders aloud what to do about the two fighters stuck inside
him.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Finally,
on “Wilder” itself - after all these John songs, comes a Paul one - he decides to leave. He is aware that he may be leaving heaven
for hell (“It’s not where you are, it’s who you’re with”) but the magnet is
drawing him away. The song is slow and painfully patient. After the singer ceases
to sing, there is a long and winding road of an instrumental coda, spacious and
delicate like <a href="http://nobilliards.blogspot.com/2010/08/rod-stewart-every-picture-tells-story.html">“Mandolin Wind,”</a> as the Worried Man walks slowly into darkness.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Perhaps,
in Liverpudlian musical terms, the melancholy of The Boo Radleys is a logical
development from A Flock Of Seagulls – the latter’s 1984 album <i>The Story Of
A Young Heart</i> is a more-or-less direct forebear of <i>Wake Up!</i>; I will
not ruin its potential impact by telling you how it ends. Yet, just at the horizon
of exit, there comes distended commentary, and then there comes a nautical bell
which clang, <i>clang</i>, CLANGS louder and louder into a locked groove,
demanding that you WAKE UP</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><a href="https://www.youtube.com/watch?v=JEtebRhBEzg">“Sealand”</a>?
“Mother…sister…at home…these I’d value so.”</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">He goes
to London, and nearly destroys himself doing so. The band will record two more
albums, and these are the two albums they would have recorded anyway. They sell
40,000 and 10,000 copies respectively. They are both quite stunningly good. The
band ends. Its members go on to do different, and perhaps more emotionally beneficial
things. The Worried Man now, I think, lives peacefully in Cardiff. The
psychotherapist studied in part at Oxford Brookes University, where Laura
worked as a librarian. Their moment may have been fatally misunderstood. But it
<i>was</i> a moment, and its reasonably central appearance in this tale helps
to preserve that moment for posterity.</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">Oh, and…”Wilder.”</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">And…”High
And Dry” (not the same song, and neither was influenced by the other, but they are nevertheless parallel songs)<br /></p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;">And…<i>Oxford</i>?</p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"> </p>
<p class="paragraph" style="text-align: justify; vertical-align: baseline;"><i>Wake
Up!</i> is a hell of a lot more influential record than you’ve been trained to
think.</p>
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