Classic Review: The Cure - Seventeen Seconds (1980)

Detached: A word that epitomizes “Seventeen Seconds” position amongst the cumulated back catalogue of Robert Smith’s Cure.

Detached: The abstract blurry images of the cover further drove the band away from traditional Rock iconography and indeed, enhanced The Cure’s “anti-image”.

Detached: “Seventeen Seconds” is the first point where Smith wrestles free of any hint of the Producer’s control that had laced their debut, stating that “We’ve never been part of any movement, and we’ll never follow fashion”.

Detached: Numerous critics incorrectly cite this album as the first in a trilogy of “Gothic” recordings that continued with 1981’s dour “Faith” and climaxed with the gruesomely dark “Pornography” from 1982. Although much of the content of “Seventeen Seconds” is sparse, atmospheric and inherently cold, there’s none of the liberally laden lip gloss of gloom that fills the follow up albums.

Detached: During the recording process Keyboardist Matthieu Hartley would suggest the implementation a more flourishing backdrop to Lol Tolhurst and Simon Gallup’s minimalist rhythms. Smith rejected this suggestion in favour of single piano notation to add stark atmospherics to his echo laden deadpan vocal track and heavily phased guitar sound.

Detached: Unlike the follow up albums, there is undoubtedly a subtle stream of pop sensibility running through much of “Seventeen Seconds”, with melodies often originated from Gallup’s Bass. Their flirt with U.K. single success on “A Forest” perfectly builds layers on the leading bass lick, with Smith’s gentle guitar strumming, and Tolhurst’s machine like beat adding a beguiling soundscape that leans heavily towards previous works. Other highlights include the deeply cinematic instrumental opener “A Reflection”, the more upbeat “Play For Today”, and further icy introspection from “M”, “In Your House” and “At Night”.

Detached: “Seventeen Seconds” is Robert Smith’s greatest performance, a contemplation piece that perfectly accompanies solitude. Orthodox descriptions can’t hope to capture the chilling beauty of this record.

9/10

"A Forest"

Classic Review: The Only Ones - The Only Ones (1978)

How would The Only Ones debut have fared had it not contained the exhilarating “Another Girl, Another Planet”? There are two trains of thought that each weigh in with some relevance. Firstly, there’s the view that the Londoners’ were “one trick pony’s with one sparkling single and a lot of fodder to follow." Secondly (and it’s the view I concur with), “Another Girl…” dominates the album so forcefully and shadows what are some really interesting moments on an album that should never be overlooked. Yes, the single is an exhilarating ride through Peter Perrett’s broken hearted lyrical gushing, with one of the great opening couplets (“I always flirt with death, I look ill but I don’t care about it”), but it’s John Perry’s fluid guitar intro that really drags the listener in. Much like Buzzcocks, The Only Ones’ New Wave sound was heavily rooted in Perrett’s nihilistic take on broken relationships with the opposite sex, in stark contrast with the societal breakdown that the British Punk’s were bleating about at the time. In addition, the four piece were instrumentally well honed, having trawled the pub circuit for over two years, with a rhythm section, Mike Kellie (Drums) and Alan Mair (Bass) that had arrived via well established acts.

The brittle loneliness of “Breaking Down”; where the musical Pop/Punk sensibilities are overwhelmed by stark atmospherics and a deliberately languorous tempo, offering Perrett ample opportunity to vent literary shots from his downcast demeanor. The instrumental backing exemplifies the band’s definitive skills in expressing themselves beyond the confines of predetermined genres. The paranoiac “The Beast” has the melody of a classic Rock track, and yet fits perfectly amongst this collection. Other highlights include the up-tempo “City Of Fun” and the jagged “Language Problems”, which both represent how the dynamic influences of Punk Rock were filtering through to Rock/Pop acts who were, in turn using it to iron out polished sterility. The Only Ones realization is that sometimes four simple chords is more than enough to create songs of immediate vitality and resonance. The instrumental climax to the closer “The Immortal Story” explosively surges around parping horns and Perry’s nimble multi tracked guitar solo’s, with the rest of the band filling in gaps for what is a breathless finale.

Much, much more than one hit wonders, Perrett and his band fill your heart with lovelorn drama’s, disquieting paranoia, and a musical influence that would be revered by R.E.M, The Libertines and a host of post punk wannabees.

8/10

"Another Girl, Another Planet"


"The Beast"

Review: The Streets - Everything Is Borrowed (2008)

The philosophical musings of an artist who struggles with fame and fortune are generally accorded critical disdain. The depressive self referential cliché’s that filtered throughout his previous album (2006’s “The Hardest Way To Make An Easy Living”) characterized Mike Skinner’s change in social situation. He was no longer the pill fueled lower middle class street urchin of the pubs, clubs, takeaways and bus stops. The ennui that comes from upgraded status led to an embittered album that lacked the homespun charm that had filled his previous two long players. Whilst “Everything Is Borrowed” still languishes in a world grounded by monetary privilege, at least it doesn’t harbour the same alienating grudge and conceit. The latest set of songs painstakingly catalogue Skinner’s profound ruminations on the human spirit, soul, morality and the destruction of our species. Undoubtedly a heavyweight itinerary, but there’s an honesty and wit to much of Skinner’s lyrical content, and vitally the music matches the more confident songwriter.

The opener, and title track is as humble as it is affecting; a statement charting the simplicity of life’s travels over fresh organic instrumentation and laid back melody. “I came to this world with nothing, And I leave with nothing but love, Everything else is just borrowed” feels like Skinner has finally come to terms with the excesses of stardom, and indeed, his own place in the world. And when he leaves this mortal coil, “Heaven For The Weather” playfully ponders on his north or south trip, all played out over a celebratory Pop/Soul rhythm. “On The Edge Of A Cliff” is a grave suicide talk down, sensitive, philosophical and deeply sincere, and successfully creates vivid poetic images. Musically “The Hardest Way…” moves further away from the urban cut and paste computer sampling in favour of conventional bass rhythms, guitar lines, and occasional strings with generally positive results. The dreamy, ethereal lyrics to the closer (“The Escapist”) qualify the seismic shift from his club roots into a landscape of other worldly imagery; “I feel no fear, I’m not really here, I’m nowhere near” as his imagination wanders. “The Way Of The Dodo” branches into unnecessary, cliché driven words of the destruction of mankind, not helped by the clunky rhythms which feel totally out of step with the rest of this collection. That said, it is one of the few negatives, and although “Everything Is Borrowed” isn’t as powerfully insistent as previous incarnations, there’s more of a reliance on Skinner’s meticulous story telling, less on the self obsession that tarnished “The Hardest Way To Make An Easy Living”.

6.7/10

Classic Review: New York Dolls - New York Dolls (1973)

There was a time, many years ago, when music TV presenters could speak their minds. There was none of the sycophantic cuddling up and overtly flowery language we see and hear today. New York Dolls first live appearance in 1973, on UK TV show “The Old Grey Whistle Test” was introduced in disparaging tones as “mock rock” by that venerable hippy, ‘Whispering’ Bob Harris. “They are to the Rolling Stones, what The Monkees were to The Beatles” he quipped, and a small nation of young, alienated teenagers (including one, Stephen Morrissey) saw this as a call to arms against the music establishment that Harris was so firmly rooted in. Their performance of “Personality Crisis” was typically ramshackle, loose, but nonetheless charming in its brash exuberance. They dressed like filthy sluts, singer David Johansen prancing around like Jagger’s delinquent sister, whilst guitarists Johnny Thunders and Sylvain Sylvain attempted to match the singer’s howls with sympathetically raucous musical support. Part of the appeal must have been their willful commitment to the excesses of glam, which had by this time crossed over to mainstream audiences via Marc Bolan, David Bowie and many others.

Many critics cite “New York Dolls” as one of the archetypal Proto-punk recordings. It’s not. For whilst the band’s swaggering attitude may be considered a blueprint for all that happened post 1976, the music is heavily influenced by The Rolling Stones. Johnny Thunder’s stormy licks are indebted to Keith Richards and to a lesser extent, Chuck Berry. The lead off track, and signature tune, “Personality Crisis”, borrows heavily from “Let’s Spend The Night Together”; even down to the Bar room Piano melody. “Looking For A Kiss” carries a simple Berry riff that Marc Bolan had used previously for “Get It On” from his “Electric Warrior” album. “Subway Train” sounds like a cast off from any number of late 60s Stones albums. Johansen’s street wise chronicles of New York’s underbelly articulate to an entourage of disaffected teens (particularly in the U.K.), the highlights of which are the opener, “Trash”, and the closer “Jet Boy”.

There isn’t a musical move you haven’t heard somewhere in some form already, but one has to give New York Dolls credit for their original trashy aesthetic, and their highly charged rough and ready delivery. Sadly, the songs never matched the image, and looking back, there’s some substance to Bob Harris’ withering introduction.

6/10

Old Grey Whistle Test Memories: Big Country

Here's Big Country with a rousing performance of "Fields Of Fire".

What's On My Stereo?

Lynyrd Skynyrd - Pronounced Leh-nerd Skin-nerd (1973)
The Streets - Everything Is Borrowed (2008)
Madonna - Bedtime Stories (1994)
The Zombies - The Zombies (1965)
Marshall Hain - Free Ride (1978)

Old Grey Whistle Test Memories: Suzanne Vega

Here's Suzanne Vega with her breakthrough hit "Marlene On The Wall".