The Album Review Club - Week #191 (page 1286) - Harlequin Dream - Boy & Bear

threespires said:
Can't argue with those three as role models (Gilmour's an RT fan btw :-) ). Obviously the teacher comment was a bit of flippancy, if nothing else you don't want to be discussing us weirdos when you're on the meter at whatever the going rate is!!

Think we've discussed it before(?) but the video of the Fender custom bods trying to work out how to recreate SRV's Number 1 is quite an entertaining watch.
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I don’t think I was the recipient of the SRV chat - I’ll have a look though. Talking of recreating iconic guitars. This may be of interest - he’s either going to entertain or annoy… don’t watch if you are averse to string language! I do find him rather enjoyable :)
 
journolud said:
He can't sing! So said my wife when I put this on in the car. Which I thought was a bit rich coming from the lady who had recently tagged along with her mates to watch the Dylan film and declared herself a convert. Well, almost...

She has a point though and wouldn't find herself totally at odds with a few who have reviewed it. I wouldn't say he can't sing, it's very subjective anyway but what his voice lacks for me is a distinctiveness. Like Dylan has. Or Neil Young, Lou Reed. Etc Still there are lots of unremarkable singers who know how to write a decent song and have the right to sing them any old way they like. Or with the voice that's available to them.

As a very crude generalisation I thought that this album had two types of songs. And I get that they aren't meant to be literally autobiographical. But songs like Read About Love and I Feel So Good are about bravado. Maybe masking a vulnerability. We're all bullshitters that way to a certain degree.


But then songs like I Misunderstood and Why Must I Plead suggest that vulnerability is very real. I'm not saying that either type resonated with me any more than the others but it is the introspective ones that I preferred and in which his voice was better suited.

He's something of a national institution I believe, highly regarded by the serious music magazines. I can see why but I must say such lofty exaltation leaves me a bit disappointed with some of the lyrics, even in the songs I like more. But then I guess McCartney had his frog chorus...

My son came into the room while 1952 Vincent Black. Lightning was on and declared himself suitably impressed with the guitar playing. He's no expert but does have four of the things in his room so knows a thing or two I suppose about technique.

There were a couple of songs which I would happily skip if I were to listen to this album again. Although I probably won't. Don't Sit on My Jimmy Shands is just wrong for the album and Psycho Street is a mess. In another circumstance I might have liked it, evoking as it does the theatricality of David Ackles but it doesn't work here.

God Loves a Drunk doesn't have the emotional heft for me as it did for others on here but Grey Walls hits closer to home as someone whose mother spent more time in psychiatric institutions than is good for a growing boy to have to contend with. It is to be fair a more affecting song than Pink Floyd's Brain Damage but it is the latter that I'll play again and again.

Overall, some decent songs but I didn't take to it as much as I might. Still, I have finally listened to someone who buy all accounts should be listened to. I'm not sure I'm going to listen to any more Richard Thompson but there's always the possibility of a lazy Spotify top tracks meander which might give me a greater appreciation.

This album gets a 6
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I think this is what one of his less introspective albums and quite poppy, and as such one that some fans would castigate me for nominating. Might be worth a Spotify meander at some point in time.
 
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On the whole I liked this album, especially the pop sounding ones.
The slower ones I just did not think his voice is strong enough to carry them off.
God loves a drunk the perfect example as I thought it was the weakest track though Psycho street ran it close.
On the vocal front surely Byrne sounds like him as I noticed Richard had his first solo album in 72.
Will give the accoustic album a listen to see how his voice is on that.
Anyway Byrne voice is nothing special as well.
7/10.
 
Not got time for a full review (but will do soon as i can) but a really good all-round Album by a very under the radar Artist. Enjoyed.

@threespires

What a great pick this was, I've never heard Richard Thompson and at first listen it didn't grab me too much, I definitely heard David Byrne also vocally.
There's a good blend of folk, rock and his own unique input into all this - lyrically it stands out as he hits subjects of love and loss but often in a witty way - similar to this weeks Housemartin pick.
'1952' is the stand out, love the whole storytelling and the acoustic sound he crafts - 'I feel So Good' is upbeat and has a Dire Straits feel with alot of energy, similar to 'Mother Knows Best' which i would attribute to the most Dylan sounding track - 'Mystery Wind' a cool track that also stood out.

7/10
 
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Apologies threespires, not had the chance to get past the first listen this week. Would rather not rush it just to get something said for the sake of it, think there is a lot more to it than that. Will stick it on my list to circle back to at some point.
 
Coatigan said:
Apologies threespires, not had the chance to get past the first listen this week. Would rather not rush it just to get something said for the sake of it, think there is a lot more to it than that. Will stick it on my list to circle back to at some point.
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No worries, you'd have only dragged the score down ;-)

You asked me what I thought you would think of it. I didn't want to muddy the waters but what I actually thought was that you'd have preferred my alternative choice. Having decided I was going to nominate something that was in the area of 'modern folk', it was either one of two Thompson albums or Eliza Carthy's 'Big Machine' album. Her band sound a bit like Bellowhead if they'd been listening to the Budos band. I went with Thompson (a) because I thought he should be heard on this thread and (b) because it was more of a contrast to the recent Lau nomination than Carthy was. Anyway, here's a track from it, it's a varied album but I chose this one cause it's got RTs son Teddy on it!

 
threespires said:
No worries, you'd have only dragged the score down ;-)

You asked me what I thought you would think of it. I didn't want to muddy the waters but what I actually thought was that you'd have preferred my alternative choice. Having decided I was going to nominate something that was in the area of 'modern folk', it was either one of two Thompson albums or Eliza Carthy's 'Big Machine' album. Her band sound a bit like Bellowhead if they'd been listening to the Budos band. I went with Thompson (a) because I thought he should be heard on this thread and (b) because it was more of a contrast to the recent Lau nomination than Carthy was. Anyway, here's a track from it, it's a varied album but I chose this one cause it's got RTs son Teddy on it!

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I'll stick that on the list too then! Avoided any of the longer in-depth reviews, till I got my own thoughts formed, but does sound like it was well received. There seem to be a lot of qualities on it that I value. The country-reminiscent style aside, which I would have hoped to work past. Had I had the time. I also know you tend to respond to most comments, and was looking forward to exchanges there, but alas. Hopefully more at it this week.
 
threespires said:
I'll have to give TR a go. My only exposure to him was via a cover of Pretending To Care which sent me to his Acapella album which I thought was interesting but I assume is atypical. For no obvious reason I didn't explore further so sounds like a plan.
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His career kind went down the tubes after “S/A?” and “A Wizard, A True Star” and he had a little revival in the 80s with his band Utopia, but nothing like RT in terms of being prolific. Produced a lot of bands though and somehow made it into the RnR HoF!
 
FogBlueInSanFran said:
His career kind went down the tubes after “S/A?” and “A Wizard, A True Star” and he had a little revival in the 80s with his band Utopia, but nothing like RT in terms of being prolific. Produced a lot of bands though and somehow made it into the RnR HoF!
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Stuck S/A on earlier to realise I know a number of the tracks via cover versions; encouragingly versions by acts I like such as A Krauss and the Isley Bros. Like RT the people who choose to cover him probably speak to the quality of the songs.
 
Avoiding all but one of the low-ball torpedoes, Richard Thompson's Rumor and Sigh had 14 votes at an average of 7.11. A fantastic nomination from @threespires that got us all talking, as usual, about voices and instruments and whether our better halves approved of the choice of music in the car or around the dinner table. The 32nd album make the magic average of 7+.

This week, it's the turn of the Derry Jury, aka @LGWIO, but will he have a set of clues ready?
 
.... actually he does, but as he's busy with important stuff like bloody work meetings, I'll be stepping in for this part.

Artist Clue

LGWIO.jpg

Album Clue

0 - 4
 
FogBlueInSanFran said:
Well, The Housemartins London 0 Hull 4 would seem a silly guess but just in case . . . .
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Yup. Didn't have a clue with the artist clue but the album was even obvious to me. Here's what LGWIO had to say.

THE HOUSEMARTINS

London 0 – Hull 4

I almost thought that @threespires was stealing my pick last week…so I thought I would plaigarise his intro….

“National treasure is a phrase too easily bandied about, but IMO Richard Thompson Paul Heaton clears the bar with some ease. Despite a relatively low profile, he’s been an integral and important part of the British and wider music scene since co-founding Fairport Convention The Housemartins as a teenager twentyone year old. Moving on to create classic albums with his initial bandmates and then with The Beautiful South, followed by a long and distinguished solo career that has included generous collaboration with all manner of musicians, most notably Jacqui Abbott. A renowned guitarist and the acceptable face of folk-rock “jangle pop”!

Over the last month or so I have debated about what to offer up for your aural pleasures. After the “Skinner debacle”, I considered albums that could challenge for bottom spot, particularly after the brief chat about PE and I was almost leaning towards Da Lench Mob/Guerillas In Da Mist, or even the classy “3ft High & Rising”.

However, the desire to put forward someone with a quality voice came first. It also fitted with me listening to Manchester Calling. I almost put this album forward, if simply to curry favour with you lot for the single line about Gary Neville’s head on a spike. I looked back at Paul Heaton’s output and did think about him being a real national treasure, one that has despite his success held firm to his beliefs. His ability to produce wonderful tunes and paint pictures with his short stories has been demonstrated over many albums and years.

I could have chosen many albums but thought I would go back to the very start. To the creation of “Jangle pop”, a title that I think misses so much. I know from listening to this at the time it came out I never fully understood much of his story telling ability and what he was representing.

“Too many florence nightingales
Not enough robin hoods
Too many halos not enough heroes
Coming up with the goods
So you though you'd like to change the world
Decided to stage a jumble sale
For the poor, for the poor”

The voice, the lyrics, the fun and upbeat nature of it often hide the meanings. The pop and then the gospel side going hand in hand and being the launch pad for at least 2 illustrious careers.
 
There’s much to admire about Paul Heaton and I say that as someone who has only really listened to his band’s singles and even then only when they’ve come on by chance. And always liked them.

A bit of jangly pop will be just the ticket for my drive to the match later. Heck I might even put it on right now while I waste some nervous energy rearranging the clutter
 
RobMCFC said:
Yup. Didn't have a clue with the artist clue but the album was even obvious to me. Here's what LGWIO had to say.

THE HOUSEMARTINS

London 0 – Hull 4

I almost thought that @threespires was stealing my pick last week…so I thought I would plaigarise his intro….

“National treasure is a phrase too easily bandied about, but IMO Richard Thompson Paul Heaton clears the bar with some ease. Despite a relatively low profile, he’s been an integral and important part of the British and wider music scene since co-founding Fairport Convention The Housemartins as a teenager twentyone year old. Moving on to create classic albums with his initial bandmates and then with The Beautiful South, followed by a long and distinguished solo career that has included generous collaboration with all manner of musicians, most notably Jacqui Abbott. A renowned guitarist and the acceptable face of folk-rock “jangle pop”!

Over the last month or so I have debated about what to offer up for your aural pleasures. After the “Skinner debacle”, I considered albums that could challenge for bottom spot, particularly after the brief chat about PE and I was almost leaning towards Da Lench Mob/Guerillas In Da Mist, or even the classy “3ft High & Rising”.

However, the desire to put forward someone with a quality voice came first. It also fitted with me listening to Manchester Calling. I almost put this album forward, if simply to curry favour with you lot for the single line about Gary Neville’s head on a spike. I looked back at Paul Heaton’s output and did think about him being a real national treasure, one that has despite his success held firm to his beliefs. His ability to produce wonderful tunes and paint pictures with his short stories has been demonstrated over many albums and years.

I could have chosen many albums but thought I would go back to the very start. To the creation of “Jangle pop”, a title that I think misses so much. I know from listening to this at the time it came out I never fully understood much of his story telling ability and what he was representing.

“Too many florence nightingales
Not enough robin hoods
Too many halos not enough heroes
Coming up with the goods
So you though you'd like to change the world
Decided to stage a jumble sale
For the poor, for the poor”

The voice, the lyrics, the fun and upbeat nature of it often hide the meanings. The pop and then the gospel side going hand in hand and being the launch pad for at least 2 illustrious careers.
Click to expand...
Looking forward to listening. I love Paul Heaton. Nice review mate.
 
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