Really struggling with this one, nothing to do with the album as I can hear it's qualities but I think I'm just in a funny mood. Maybe it's the clocks going forward! It's difficult because at the moment I feel like I shouldn't score it because I haven't given it a 'fair' hearing. Timing is definitely part of the alchemy with this thread.
Up to you mate, I won’t be offended if you score it low or not at all.Really struggling with this one, nothing to do with the album as I can hear it's qualities but I think I'm just in a funny mood. Maybe it's the clocks going forward! It's difficult because at the moment I feel like I shouldn't score it because I haven't given it a 'fair' hearing. Timing is definitely part of the alchemy with this thread.
As I pointed out in my write up IH doesn’t have the strongest of voices but I do think it suits the songs.Although Bowie gave MTH ATYDs they had their most successful period after, having half a dozen hits.I think the main thing I am getting from this album is that his voice isn't strong enough to carry the songs. He also hasn't got any vocal identity sounding as he does a bit like Bowie (Life After Death) before moving onto Jagger (Just Another Night) and even squeezing in a bit of Bolan (Wild East).
Musically, given it's session musicians, it's rather good, but none of the songs, although brilliantly played, had any hooks that caught me. It's a very safe album. Nothing jumps out, even on Life After Death which is my favourite song on here, with it's slow start and Sparks like weirdness, still feels a little flat. It's all very similar and yet dull. Which is a great pity.
Standing In My Light is a great case in point. The song has great promise, slowly building, his voice at the beginning suiting the build up, a bit of piano, tinkering in the background, a key change and then...nothing, just the same vocal over and over. Such a shame as it's a tune that needed a big finish.
See also Bastard. Nice groove and then...a flat voice kicks in to ruin it all. Less said about Outsider the better.
Sorry to say but I can see why Mott The Hoople almost split before Bowie fed them a lifeline. And going solo hasn't improved matters much. A pity as I was hoping to add a new person to my vinyl collection.
4/10
The "voice police" LOL. I battle the voice police with Molotov cocktails thrown from sixth-floor windows.As I pointed out in my write up IH doesn’t have the strongest of voices but I do think it suits the songs.Although Bowie gave MTH ATYDs they had their most successful period after, having half a dozen hits.
I’m a fully paid up member of the voice police too and if I don’t like the vocals i don’t like the album so I get it.
I liked this review but how can a human with two ears that work fail to like "Cleveland Rocks"?You’re Never Alone with a Schizophrenic – Ian Hunter
Despite my worry with the opening bars of the first song, with its plinky-plonky piano, I really enjoyed both “Just Another Night” and the album as a whole.
The backing given by three members of the E-Street band does give it a Bruce-like quality, but Ian Hunter’s vocals and excellent songwriting ensure that he makes the album all his own. The guitar licks played by Mick Ronson throughout, but particular on the opener, are great.
The two tracks I enjoyed the least were “Wild East” and “Cleveland Rocks” – there just wasn’t enough going on for me and the choruses were one-dimensional to say the least (although the guitar that opens Cleveland is, once again, very enjoyable).
“Ships” is a nice change of pace and a much better song. I’ve never heard the Barry Manilow version, but this original is superb. The church organ backing makes me feel that a fourth member of the E-Street Band, Danny Federici, should have been involved. Not that Professor Roy Bittan doesn’t do a great job, it’s just the sort of backing that Danny would have provided for the Boss.
“When the Daylight Comes” and “Life After Death” are two catchy numbers, but I think that two of the best songs are reserved to finish off the album. “Bastard” opens with a satisfyingly groovy guitar and the overall beat reminds me of Fleetwood Mac’s “Tusk”. There’s lot of special instrumental highlights on here: the organ backing, the guitar riff, the bass and drums, which all combine to make a great long track. “The Outsider” finishes off the album in style, a song that has an epic singer-songwriter feel.
Whilst there are a few missteps on here, there’s enough that I really enjoyed. More than anything, it’s the overall tone and backing that makes it a good listen. It’s a well-arranged album played by talented musicians and is refreshingly free of gimmicks, and it more than earns an 8/10.
I liked this review but how can a human with two ears that work fail to like "Cleveland Rocks"?
And I'm on record as saying Cleveland is my least favo(u)rite American city. It still rocks though :)