Firstly, the album title, while based on a strong track, and with a great cover illustration, does not really reflect the contents of the album itself.  It is sad, jaunty, wistful, fun, modern, nostalgic… There is subtle disillusionment there but it is not often, if ever, directly angry.  

The CD has a wide variety of themes and styles of melody, while maintaining that essential consistency that a real “album”, as opposed to a collection of songs, requires.   If anything, perhaps “Mixed Messages”, would have been a better representation of the content.

Secondly, and more seriously, the production is sometimes unsubtle – especially around some of the lead guitar breaks and vocal mixes, and has taken away some of the passion that those of us that have seen Mick (and Nora) perform know they can bring to a modern or traditional song.  Fortunately the strong lyrics and progressive nature of the melodic structures overcome this.

The Songs

The album notes provide helpful context for understanding the origin of the songs.  Here I’m going to add my comments rather than repeat the notes.

Angry Man – Great track and for those previously unfamiliar with Mick’s writing a powerful introduction to his lyrics.  They keep making me think of Johnny Cash and his prison ballads, although by that I do not mean it is C&W or derivative in any way. It’s the content – is Angry Man on Death Row?  Enigmatic, about how disempowered we all are today, but at the same time the song motors along with a great rhythm and draws you in.  Not so sure about the lead guitar work – good idea, but the mix is a bit intrusive (and I’ve played the album on several different platforms and through different speaker/headphone set ups – and its still the same).

Mixed Messages – Although all the songs from this album have their little catchlines, this one is particularly wistful and I found myself humming (in my untuneful way) the refrain at lunch time today.

Going Thru the Motions – Even from the first time I heard this, I wanted this to be fully electric (sorry folks, I have strong heavy metal/grunger roots), not an acoustic/electric hybrid. That impression has not changed after several listens. It’s a super track and could be rearranged so many different ways and still work really well.   

Old Man – I keep picking up on different aspects of this song every time I listen to it.  As the sleeve note says “one of the most depressing songs you’ll hear” – but beautiful too.  Good use of the mouth organ – too often abused in arrangements.

Endeavour’s Return – This song, along with Corpse Road, is the probably nearest to a “modern trad” song on the album – or in this case is it perhaps more accurately a shanty? It’s a lovely lilting tune about the return of the Cooke expedition after their explorations, and disasters, in the South Seas.  Having visited Whitby several times in the last few years, and become fascinated with the strong seagoing history of the area, I found it very moving, but maybe missing a verse or two.  Nora provides great concertina and vocal work on this.

Colwell Bay – this vies with “I’m a Hermit” for my personal favourite on the album.  It mixes happiness with some sadness – and has great rhyming tricks in it – “handstand” and “bandstand” - which conjure wonderful pictures of childhood holidays.  I had no idea where Colwell Bay was – now I want to see that bandstand. A quick visit to the Web suggests it is long gone, although it still looks a lovely old-fashioned uncommercialised sandy beach – probably unchanged for years. This track has some of the best use of the mandolin on the album, and also very purposeful and effective double tracking of the vocals.

Dublin Town – My grandfather once told me he knew someone what was blind from birth and somehow regained his sight. He was amazed, and saddened, at how glum everyone looked in the street when he could see for the first time.  This song triggered that memory for me.  It really captures the essence (Guinness?) of being in Dublin, what a beautiful city is, and how everyone is smiling there.  Nora’s whistle is used very appropriately to set the tone.

Corpse Road – This is the other more trad style track on the album, with good mandolin work, but like Dublin Town, also has a bass line providing structure.  Has a quite a spiritual tone – after all we are all, inevitably, on the “corpse road”…  But also jaunty and strongly geographically rooted.  However, this one does not take root melodically as much as some of the other tracks for me.

Black and White – Strong and provocative vocals, which challenge us to think about the complexities and realities of life.  It’s never simple.  A song where the chorus ambushes me long after listening to the album – it has a jingly little mandolin refrain at the end of each chorus that gets inside your head too.  How many people get the word “Aspidistra” into their songs without it seeming it out of place…?

I’m a Hermit – My favourite song on the album.  It has a great tune, and some of the best word tricks I have heard without turning the song into a pastiche or something for kids;  Hermit/permit; toad/road, dingo/gringo; Sondheim/rhyme – and a beautiful line about pirouetting.  But there is something quite serious underneath the apparent frippery.  And it chugs along and speeds up… Fab!  Listen to it!!!

Lullaby in G – a sweet song with the full ensemble (including Claudine singing a verse, en Français naturellement) involved in the harmonies/rounds and chorus.  I’m not totally convinced about the mix on the vocals, but the overall arrangement carries it off.

The Outro

You want hear a nice example of the modern British acoustic music with a strong folk influence and a very fine writer? – listen to this album and enjoy; and it will grow and grow on you. You may not like it all – and you may not agree with my preferences either – but you’ll play it often.

But it doesn’t have “Property Millionaire” on it, which I saw Mick perform before Christmas, and which is cracking!   So clearly even more material to come…

LizM

Grays, 11^th January 2006

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