Monthly Archives: November 2009

BIJOU PHILLIPS – I’d Rather Eat Glass

Posted on by

The daughter of John Phillips of the Mamas and Papas (about whom plenty could be said, given some past revelations, but now isn’t the time) Bijou Phillips is actress. At other times, she’s a model. When neither of these, she’s been a wild child and your average Google search would suggest she’s someone who’s keen on taking her clothes off. Lesser known facts about Bijou include her abilities as singer-songwriter, which so far have yielded just this one album. ‘I’d Rather Eat Glass’, produced by ex-Talking Heads man Jerry Harrison, is a mixed bag. As the title suggests, it’s quite spiky around the edges, though essentially most of it fits neatly into the rock-pop mould. …And yeah, I’m pretty sure you’re thinking a model/actresses album is some kind of vanity project, but don’t dismiss this, as Bijou has a really strong voice and more than enough talent to make this work.

The opening track ‘Hawaii’ instantly grabs your attention. The guitar riff is a little off centre and in a tuning which seems a step away from the norm. Sadly, I’m not a musician, so I can’t elaborate on that, but it’s a great way to get things started. The alternative pop-rock seems in keeping with a large chunk of the album’s material, but just when you think you know where it’s going, it breaks into an odd calypso-ish break.The guitars are turned up for ‘I Own You’, which is very chorus driven. You’ve heard this all so many times before, but somehow it still retains its charm. Similarly as rocky, but delivered with a quirky vocal, ‘I Never Shot The President’ starts with attitude and then refuses to let go. ‘Little Dipper’ is a stand-out ballad, with a piano led arrangement and probably one of the most heartfelt vocal deliveries this album has to offer, telling a tale of childhood visits to the protagonist’s mother’s house. It stands out, in part, due to a contrast with the spiteful edge present on most of these songs. ‘I Am A Mountain’ seems at first to be in a similar style to ‘I Own You’, but then during the between-verse breaks, the guitars are quite thrashy.

‘When I Hated Him (Don’t Tell Me)’ was the lead single and it’s not difficult to see why. Its radio-friendly angst fit the late 90s model of strong female singers, after Alanis Morissette’s ‘Jagged Little Pill’ took over the world and seemingly opened doors for dozens of people to bare their souls. At first listen, this may feel a little drawn out at over six minutes, but it’s a slow burner and the addition of gospel style backing vocals for the last couple of choruses is a nice touch. ‘Breakfast’ provides good closure, being acoustic based, allows the listener to wind down a little after some of the sharper edged stuff.

I’ve had this in my personal collection for a while now, having bought it purely on the strength of a couple of really positive reviews, without hearing a note. In short, I still can’t recommend it highly enough and most of the people I’ve played it to feel the same way. If you’re out there and those Natalie Imbruglia albums are just that little bit too sugary for you, you know where to look next. This could be a genuinely overlooked gem from the tail end of the last century.

September 2007/November 2009

MARILLION – Somewhere Else

Posted on by

It’s only fair before we begin, that I tell you how much I love this band.

It may be unfashionable, but I’m not one of those people who hold them up as some sort of middle-aged-but-still-trying-to-be-cool joke. I genuinely think they’re great. As a rule, their greatness far outweighs their faults. Even when in the past they’ve released albums I’ve not been so keen on, there have always been moments which truly stand out.

‘Somewhere Else’ really breaks the mould. The bad bits are bad. The average bits are average and, to be honest, the good bits are, just so…average. For a band who’ve often given it their all and been a band still capable of surprise some twenty-five years into their career, this album represents a band on auto-pilot; a band who, at best, sound somewhat pale when compared to their previous two outings (the epic and dark ‘Marbles’ and the surprisingly contemporary sounding ‘Anoraknophobia’). ‘Somewhere Else’ sounds like songs fashioned from bits of leftovers with some bleak lyrics, mismatched with some poor attempts at chorus writing.

The opening track, ‘The Other Half’ promises so much, with its big sound working from a rather Beatles-y loop. It’s a slow-burning opening track which leads the listener into thinking this will be an atmospheric journey, kind of like a familiar friend but with a new slant. It’s after this that things go awry, when the first single, ‘See It Like A Baby’ emerges from the speakers. The verses are full of unimaginative clichés about trying things for the first time, which become almost unbearable when Steve Hogarth utters the line ‘taste it like you’ve never tasted it before’; a line which no matter how many times I hear it, I expect him to be endorsing Cadbury’s Flake. No thanks. Things aren’t saved from despair when the chorus presents itself as ‘See it like a baby (x4)’. Is this really the work of a man who has been a songwriter for some three decades or maybe more? Is it the work of a man who has written things of a poetic nature in the past? I have trouble believing it myself.

‘Thankyou Whoever You Are’ sounds like something Marillion binned at the demo stage on previous attempts and then dragged out in desperation to pull this album up to ten songs. Musically, it’s more than competent, but sounds very much like a composite of previously released Marillion songs. I kind of hoped that lyrically, something would save this from being mediocre, but again, witness the chorus: ‘Thankyou whoever you are (x4)’. I could point out that thank you is two words, but that’d just be pedantic.

Before the album was released, the song ‘Most Toys’ was touted as a groundbreaking number in the Marillion cannon. It was supposedly the fastest, heaviest thing the band had ever recorded with [quote] Ian Mosely finally getting to drum like he’s in System Of A Down. In reality, that’s not true. It’s slightly tougher sounding than a lots of the band’s previous outings, but certainly not that much faster – not really any faster than, say, ‘Hooks In You’ or ‘Separated Out’, and as for the System Of A Down drumming comparison…that’s laughable. The chorus again is a one-liner; I wish they’d not tried writing choruses at all, to be honest. The title track, musically, is one of the albums strongest offerings – sprawling and atmospheric, but the lyrics add little to the over all result and the main hook, again, features too much repetition of one line. ‘A Voice From The Past’ and ‘Last Century For Man’ have a similar feel, but are ultimately forgettable and while ‘No Such Thing’, at first, seems to be on the right track atmospherically, it’s ultimately spoilt by a trippy vocal effect (used by Black Sabbath to far greater effect some thirty-seven years previously on ‘Planet Caravan’) and some spiteful lyrics, including ‘no such thing as a faithful wife’. Thanks for that. That’s lovely.

‘The Wound’ is the album’s other upbeat moment (aside from ‘Most Toys’ which should be swept under the carpet) and here, I’m pleased to say, it’s an improvement. Sure, compared to some of Marillion’s previous great moments it’s average, but compared to most of ‘Somewhere Else’, it’s a step forward. Steve Hogarth is in fine voice, the tune has a rock edge which feels natural, rather than forced, as it does on ‘Most Toys’. It’s the closest ‘Somewhere Else’ comes to representing how good a band Marillion can be. The rock bits are balanced by an atmospheric mid-section which reminds me of late-90s ‘dotcom’ era Marillion. By this point though (track 8 on a ten track CD), it’s really not enough to save face, particularly after ‘See It Like A Baby’ and ‘Most Toys’. Closing the album is ‘Faith’. As a song in an almost finished form, this has been kicking around for some time. It’s a gentle acoustic-based affair, somewhat reminiscent of The Beatles’ ‘Blackbird’. Its simple arrangement is one of its strengths. Maybe that’s why I preferred the earlier performances without the brass section. Even though this is one of the rare moments of ‘Somewhere Else’ I enjoyed, it’s hard not to feel just a little let down when a ten song outing, which took years to make, features something most of us were familiar with from what now feels like so long ago.

To be honest, ‘Somewhere Else’ is by far the worst album in the Marillion catalogue to date and even as a huge fan, I can’t bring myself to recommend it to anyone. I’d go as far as to say that although this isn’t the first time Marillion have left me disappointed, it’s the first time they’ve let me down to such a degree that I’m actually embarrassed by at least half of this album.  All great bands have their off-days, but in terms of misfires, this one’s special – the spark that often drives music’s “best kept secret” has totally gone out…

 

September 2007

GREGG ALEXANDER – Intoxifornication

Posted on by

It’s probably fair to say that if you heard Gregg Alexander or were aware of his work in the early 90s, you almost certainly discovered him by accident. This seems a pity as this, his second solo album, is a decent record. Not perfect by any stretch of the imagination, but like Prince (who seems an obvious influence on bits of the album), sometimes it’s the flaws which make it more interesting.

Alongside a handful of tunes featured in different form on ‘Michigan Rain’ (Gregg’s incredibly rare debut), this sophomore album features some new material. Pop-rock drum loops mixed with rock guitars provided the basis for the smut-driven ‘Smokin’ In Bed’ and ‘Electric Girlfriend’, both of which very much set the tone for this album. The title track, as you’d expect, follows suit, but benefits from a punchy guitar riff and a verse with a call and response vocal (it’s amazing what you can do with a ‘hey hey’ if you’re gifted enough), but it’s the pre-chorus which is the real star. Gregg was always meant to be on the radio – and once you hear this, you get the feeling that he presented this track (and indeed the rest of this album) with nothing but arrogant self-belief.   ‘I Wanna Seduce You’ is slightly different, in that the slightly alternative leanings present all but vanish; this track is pure 80s chorus-driven goodness. It reminds me of a Def Leppard cast off except it’s better than that. ‘Save Me From Myself’ (one of the songs originally from ‘Michigan Rain’) provides a decent counterpoint to a lot of the more up-beat tunes and has a vocal delivered with anguish. Even though it’s never going to be a classic album, I’d say the only time the album really misses the mark is on the uncredited bonus track (listed on the Japanese pressing as ‘Wear Your Love Beside You’). I’m not sure what happened here, but Gregg’s voice sounds lethargic and the music sounds like it came from a tape which was slightly warped. I suppose it was an uncredited track for good reason.

After the release of the album Gregg co-wrote most of the songs on ‘Arrive All Over You’ the debut album by Danielle Brisebois (who’d provided backing vocals on ‘Intoxifornication’). As you may expect, her album continued where Gregg’s ended with a similar style of power pop, rock and tongue in cheek smut. Unsurprisingly, her album was greeted with similar indifference by the public at large. [At the time of writing, Danielle’s second album remains recorded but unreleased].

 I’d owned ‘Intoxifornication’ for a couple of years and was convinced that only a few people in the UK would ever hear Gregg Alexander and then at the tail-end of the 1990s, something unbelievable happened. Out of nowhere, a band named New Radicals appeared. Their single ‘You Get What You Give’ was a monster hit. The vocals felt very familiar, but no, it couldn’t be…could it? Gregg Alexander fronting a hit band? Danielle Brisebois appearing on the album too?! Their time had finally come…and then, after a fairly short time in the spotlight, Gregg and Danielle retreated once again, but those with a keen eye and ear can spot Gregg writing songs for Ronan Keating, Rod Stewart, Enrique Iglasias and Danielle writing with Natasha Bedingfield, among others.

Good luck with tracking down any of Gregg or Danielle’s albums mentioned here; they’re worth it.

April 2008
 

COYOTE SHIVERS – Coyote Shivers

Posted on by

CD

Canadian-born Francis Coyote Shivers is one of those people whose career never seemed to get off the ground in the traditional sense. In the UK, at least, he’s only really known for playing Berko in the film ‘Empire Records’ and even then, most of his scenes only seem to be in the longer cut of the film. He is, however, of most importance to the final scene, performing the not-quite-anthemic ‘Sugarhigh’ on the record store roof.

What, then, can we say about his self-titled album? Trashy. But is it trashy in a glitzy and cool way like Beat Angels and other post-glam acts, or just plain trash? The hard truth is, well, it’d like to be the former but often ends up falling short. ‘Guilty’ has a rock ‘n’ roll heart which could appeal to fans of Gilby Clarke (ex-Guns n’ Roses) and ‘Happiness Is A Warm Bong’ is cool, with a nod toward early Replacements and the previously mentioned ‘Sugarhigh’, so it could be argued the Coyote’s influences are present and correct.

Sadly, the song writing is often lacklustre and the attitude on show doesn’t quite cover up the weaknesses. Of the twelve songs, half of them would have been binned by Paul Westerberg and Tommy Stinson at the demo stage. ‘If’ kind of reminds me of The Stooges, but Shivers doesn’t quite have the charm of Iggy Pop to make it truly work. Pure adrenalin makes ‘Bisexual Girl’ stand out, provided you can get past the lyrics, which hover somewhere between a joke and vulgar.

Despite a couple of stand out tracks, this is one of those albums which comes with little to recommend it, especially when so many others out there do this kind of thing so much better. Why, then, do I play this some days and almost connect with its disposable non-sentiments?

Worth it for ‘Sugarhigh’, but generally, you’re better off with Coyote’s ‘1/2 A Rock ‘n’ Roll Record’ EP, which boasts the genuinely great ‘Plus One’, and mercifully, the show’s over in less than half the time.

September 2007

TOMMY TUTONE – Tommy Tutone

Posted on by

Originally formed as Tommy and the Tu-tones, but later settling on the shortened Tommy Tutone name, in the US, these guys are probably hailed as one of the great one hit wonders, their anthemic ‘8675309/Jenny’ (from their second record) remaining a popular chorus driven radio favourite. This self-titled debut (originally issued in 1980) on the whole seems to have aged quite well. Unlike some of the bigger power pop bands, like Flamin’ Groovies and Pezband, TT didn’t opt so much for the retro sound and 60s harmonies, appearing at the time to be more in line with their new-wave contemporaries, so that might be why it feels such a surprise to hear something which still has spark.

The lead track and single, ‘Angel Say No’ marries early Cars style rhythm guitar work with a nod to Phil Spector in the drum depot, a catchy enough chorus replete with typical power pop harmonies. At the time it was only a minor hit in the US. You can only wonder why, as it sounds pretty good these days (equal to, or if not better, than a lot of the stuff on the Rhino power pop comps, reviewed elsewhere on this site). Was it a lack of marketing that meant this slipped through the cracks, or was it a saturated market? After all, on the surface, Tutone offer very little that many other bands of a similar ilk were pumping out at the turn of the decade. ‘Cheap Date’ on the other hand, is far less obvious. The time signatures aren’t quite where they seem to be, the finger-clicks and other overdubs add nothing and leaves everything to the chorus, which features vocals which seem a little out. The cod-reggae leanings were very popular with post-punk and new wave bands at this time, but clearly they’re not something which feels natural here.

‘Girl In The Backseat’ is pretty solid. While not living up to the promise of ‘Angel Say No’, still offers a quirkiness somehow reminiscent of mid 70s Rick Derringer. While not quite first rate power pop, it has some pleasing guitar work and an unashamed over-egging in the backing vocal department, which proves, while they never had enough courage to go full-on pomp in an Earth Quake style, they were never quite as post-punk as bands like The Real Kids. ‘The Blame’ is a winner. Following on from the slightly poppier feel of ‘Angel Say No’, it’s Tommy Tutone at their best. Here, the balance between catchy song writing, simple musicianship and final arrangement is near perfect.‘Rachel’ is solid also – in the old teen tradition, songs about girls seem to score highly! A similar mix of vocals to the other good stuff here, it’s something these guys should have concentrated on and the handclap overdubs just set things off nicely. While on the whole there’s little else to add with regard to ‘Dancing Girl’, the guitar sound in the closing part is noteworthy in it’s new wave approach, not far removed from the style played by Andy Summers on The Police debut, ‘Outlandos D’Amour’. ‘Fat Chance’ dates the album a little, as they attempt the slightly more retro sounding power pop, but the 80s keys and production values make this feel a little fake. Whatever the Flamin’ Groovies special ingredient for making albums sound really 60s was, it’s missing here. Not that they’re musically that similar, but being reminded of doo-wop homage ‘In Your Letter’ by REO Speedwagon doesn’t help.  It’s probably their ‘well meaning and fun’ ideal which that’s off-putting!

There’s nothing memorable in the long term as ‘8675309/Jenny’ on this debut, but mostly it’s a solid listen, one which (as already stated) has weathered the passing years remarkably well. It’s currently available on CD with ‘Tutone 2’ as a 2-on-1 CD: With that in mind, if you only know ‘Jenny’, it might be time to check them out.

October 2007