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I think we're a little overdue for a trip into the Tunnel of Love, so relax, chill out, reach out and touch somebody's, er, hand... and switch off the world for a half hour while we take you into the rose-tinted world of love songs.

Classic from 10cc to get us going, this is “I'm not in love”


And from a famous and well-known favourite to one many of you may not know, sung by a man with a very odd name, this is “Just when I needed you most” by Randy Vanwarmer.


Old Grumpy writing a love song? Can it be? Yeah, it's “Have I told you lately?” Lovely song.


Speaking of grumps, here's Tom Waits with one of his many tender ballads, this is “Soldier's things”.


Journey are always good for a ballad or two. Or three. Or four. Here's one from the album “Generations”, nice track entitled “Knowing that you love me”.


Kamelot, on the other hand, are not known for their ballads, but they do write 'em! This is a lovely one called “Glory”.


One of my favourite female artistes, here's Judie Tzuke, with a track from her album “I am the phoenix”, it's called “I never know where my heart is”.


Great song from Fleetwood Mac's millions-selling “Tango in the night”, with Stevie Nicks on lead vocals, this is “When I see you again”.


Excellent classic from the Climax Blues Band, simply entitled “I love you”.


The smooth sound of Roxy Music, this is “Avalon”.


And to take us gently out of the Tunnel of Love and back to the Real World, a really nice ballad from Chris de Burgh, and “The head and the heart”. See you next time; mind your eyes as you go back out into the daylight...

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Friday, November 18 2011
Moviedrome --- Arena --- from "Immortal?" on Verglas

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Saturday, November 19 2011
All your love --- Gary Moore --- from "Still got the blues" on Virgin
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An artiste I've always admired, and have yet to review one of his albums (though that will change soon) is Dan Fogelberg. Best known for his hit singles “Leader of the band”, “Longer”, “Run for the roses” and of course the perennial Christmas favourite, “Same old lang syne”, Dan died in 2007, leaving the world just a little bit colder and emptier. He has had an impressive career in music, releasing over a dozen albums and gaining moderate success through the abovementioned hits, but a lot of people couldn't tell you who he is, or name one of his albums, which is quite sad.

Beginning his career as a sort of country/folk artist, Dan soon diversified into soft rock and pop, though he never quite lost the country element from his songs. The subject of this article is an example of how Dan Fogelberg's writing was, first and foremost, personal and intimate, concentrating on mostly ordinary people doing ordinary things. He was a storyteller, and a man of the people, and is sorely missed.

The song in question concerns that bugbear of growing old, but not the fear of our own mortality: this is a song about those times when we wonder how our old mother is, or if we should pick up the phone and call Aunt Renee, but then shrug and say we'll do it tomorrow, and somehow never do. The song, the title track from his 1984 album, tells the story of just one such old woman, as she potters through her lonely day, trying to fill up the empty hours with trivialities, hoping that the phone will ring but of course it never does, and how she remembers better times. It's a haunting, often upsetting and very relevant song for all of us, and if, after listening to it, you feel the urge to call that mother or father or granny or other old relative, or neighbour, perhaps you should trust your judgement and do just that.

Old people need love, too.

Windows and walls (Dan Fogelberg) from “Windows and walls”, 1984
Music and lyrics by Dan Fogelberg

The picture painted by Fogelberg is tragic and yet proud, as the old woman refuses to call anyone, rationalising that if they haven't the time to call, they must be busy, and she would surely be inconveniencing them by intruding upon their busy lives. She follows a routine: ”Up every morning/ Long before day/ Cooking the breakfast alone” and does her best to fill in her time ”Maybe she'll go to the corner today/ Pick up the new McCalls/ If just to escape for an hour/ From her windows and walls”. The use of the ticking clock, both as a lyrical narrative device and as an actual instrument in the song is extremely effective: we all feel the hours and minutes of our lives slipping away, and there can be no less lonely a sound than the clicking of the hands as they travel in their endless journey around the clock face.

A fragile, tragic song, and yet in its own way a triumph of the spirit, a small victory for the old woman, who still lives in the house she grew up in, and watches the days go by with quiet grace and no complaints, content to live out the rest of her life, if necessary, quiet and forgotten.

Here, as ever, is the video, along with the all-important lyric.


”Up every morning/ Long before day
Cooking the breakfast alone;
She quietly dresses /And pulls up the shades
And sits in the chair/ By the phone.

But nobody ever comes by anymore
Nobody ever calls;
Most days she sits and just stares
At the windows and walls.
Windows and walls.

Children all married/ Husband's passed on:
Nothing but time on her hands.
Most of her mornings/ Are spent in her dreams
Or making her sad little plans.
Maybe she'll go to /The corner today
And pick up the new McCalls
If just to escape for an hour
From her windows and walls
Windows and walls.

The clock on the mantel /Chiming the hours
Must be the loneliest sound.
She washes her dishes/ And waters her flowers
And afterwards has to sit down.
Sometimes she still can /remember a child
Playing with china dolls...
Now all that she's left /Are these memories and
windows and walls
Windows and walls
(day after day)
Windows and walls.”

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Sometimes it's fun to just take a chance, buy an album based solely on the fact that you like the sound of the band's name. I did it with Alesana, reviewed as the first in this series a little while back, and here again I've chosen to buy an album by a band I know nothing about. I simply like the name of the band, and the title of the album also impresses me. So, after checking that I wasn't inadvertently buying a dance, screamo, punk, rap or other record I wouldn't want to listen to, I hit “BUY” and the die was cast. Was it a good idea to do so, without knowing anything about this album, or the band that recorded it? Well, let's see.

Gracious tide, take me home --- Lanterns on the lake --- 2011 (Bella Union)
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After a little post-purchase research, I find that Lanterns on the Lake are a six-piece, from Newcastle and that this is their first full album, although they have had two Eps released prior to this. They formed only in 2007 and have appeared at Glastonbury. They include among their instruments violins, banjos and glockenspiels. Hmm. So far, so interesting. But what about the music?

“Lungs quicken” is their first single, released prior to the advent of the album, in 2010, and it opens the new record. On first listen, it can best be described as heavenly. Slow, soft, with lovely vocals from Hazel Wilde, gorgeous violin from Sarah Kemp, light, relaxed percussion and lovely slide guitar along with atmospheric piano, a beautiful ballad in the very best style of the Beautiful South or Deacon Blue at their most laidback. I just hope it doesn't suddenly explode into something else! I don't think it's going to though. It does get a little more intense halfway through, with the piano and glockenspiel coming more to the fore, but Wilde's gentle vocal keeps the measure of the song throughout, and Paul Gregory's guitar is effective but restrained, while Adam Sykes on the piano puts just the right amount of emotion into the song, and it's a true masterpiece.

And that's only the first song! What else have we got then? Next up is “If I've been unkind”, which opens as another gentle, acoustic guitar-led ballad with that empathic violin, and this time male vocals from Adam Sykes, a sort of softer Nick Cave in his voice. The guitar almost unnoticed switches from acoustic to electric, and a soft banjo sound washes over the song, drenching it in further levels of class. “Keep on trying” is the current single, and it features some really nice vocal harmonies supporting Kemp's emotive violin, though the bulk of the singing is taken by Hazel Wilde again. Beautiful piano merges with equally beautiful guitar, and there's almost a feeling of a string section in there, and what can I say? The tracks just keep getting better, and I'm being sucked in, and love it.


Ever had an angel sing to you? Well, that's how it feels to listen to Hazel Wilde's ethereal, soul-easing, breath-of-life voice, and it's that voice that takes us into “Ships in the rain”, backed only by keys and choral vocals. It's a short song, but really effective. The first step towards any sort of uptempo song comes with “A kingdom”, which bops along nicely on a cool little guitar hook and Wilde again behind the mike. A great song, with a really powerful instrumental ending. Nice. Up next is the longest track on the album, “The places we call home”, opened by a beautiful glockenspiel intro, and... I've heard this before! On some TV show or ad, and wondered who made such gorgeous music. Now I know! Excellent! Oh I like this: this may be my favourite track, at least so far. Back to the slower side of things, Hazel duetting with Adam to create a truly lovely soundscape with the piano and glocken in the background carrying the tune along gently. Another beautiful, gentle instrumental ending, almost one and a half minutes of it, and that takes us to “Blanket of leaves”.

Opening with acoustic piano and violin, another breathy vocal performance from Hazel, with perfectly timed percussion from Oliver Ketteringham, who also plays piano, keys and that enigmatic glockenspiel. Talented people. Wait a minute: I was wrong about “The places we call home”. It's not the longest track, but is beaten out by about twenty seconds by “Tricks”, with Hazel in slightly more sultry mood, lovely piano and glock backing as well as that heartbreaking violin of Sarah's. Great bass work, too, it has to be said, from Brendan Sykes (brother of Adam?), and another powerful instrumental ending. Lanterns on the Lake seem to really know how to play to their strengths here, showcasing Hazel Wilde's quite phenomenal voice and then letting her fade into the background as the rest of the band stretch their musical muscles, and it works very, very well. Oh, it should also be mentioned that Hazel doesn't just sing, she plays guitar too. Is there no end to these people's talents? It would seem not.

“You're almost there” is beautifully piano-driven, Hazel's voice a little rougher and raspier here, Sarah's violin a little angrier and insistent, a banshee under her sole control. Also driven by piano, “I love you sleepyhead” shows Hazel off at her best, a stunning vocal performance against just the piano and a shade of violin coming in from time to time. Truly breathtaking. And yet another powerful, evocative ending that brings the instrumentation back in to finish off what must surely go down as a classic, a masterpiece of modern music. Hyperbole? Maybe, but it really is that good.

We're left with just the one short track to close, the almost inaudible “Not going back to the harbour”, a low-key ending to an album which, though certainly low-key, is very high indeed in terms of quality, musicianship, songwriting and execution. I'm glad I took the chance and bought this album now: all I want now is the next one!

Take my advice: get this album. That's all I have to say. Now, where's that “Repeat” button...?

TRACKLISTING

1. Lungs quicken
2. If I've been unkind
3. Keep on trying
4. Ships in the rain
5. A kingdom
6. The places we call home
7. Blanket of leaves
8. Tricks
9. You're almost there
10. I love you, sleepyhead
11. Not going back to the harbour

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Let's keep it nice and classic for the weekend, huh? Here's Pink Floyd, with the unutterably brilliant “Comfortably numb”.

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Good one for today, going back to the tail-end of the seventies for a cheerful indictment of mercenaries with Elvis Costello, and a big hit for him, “Oliver's army”. There's one word that would have to be bleeped out these days...!

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Sunday, November 20 2011
My crime of passion ---Mike + The Mechanics --- from "Word of mouth" on Virgin
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Or in this case, album covers, plural. I want to return to, and expand on, an idea I had back in July when reviewing “Wild cat” by the Tygers of Pan-Tang.

No. 5: “Wild cat”, “Spellbound”, “Crazy nights” and “The Cage” by The Tygers of Pan-Tang
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The point I made, when reviewing “Wild cat” (well, right at the end) was that if you look at the four album covers, you can see, or imagine, a developing story that parallels and tracks the career of the band. Okay, it's not how they were meant to look, and in fairness it's not exactly how the story went, but it's still interesting to note that you can, in theory, trace the evolution (some might say devolution!) of the band from their debut to what was essentially their last album.

“Wild Cat” --- Debut album, released 1980. Music: Heavy Metal.

Looking at the cover of the Tygers' debut album, there's no doubting what you expect to find, and do find, inside. The tiger roars, unfettered, unchallenged, a dangerous, wild, fascinating beast: look at those fangs! Look at the wild, staring yellow eyes! This is not a beast to be messed with! Nor is the music the Tygers played in 1980. Tough, hard-edged, raw heavy metal with tracks like “Killers, “Suzie smiled”, “Insanity” and the title track all delivering a hard punch to the musical solar plexus that, though it winded you and made it hard to breathe, was welcome and enjoyable. Dirty guitars, thumping drums, unapologetic straightforward songs sung by a man who sounded like he chewed glass for breakfast, THIS was metal!

“Spellbound” --- Second album, released 1981. Departure of Jess Cox on vocals and emergence of John Deverill. Also joining, nascent guitar hero John Sykes. Music: Hard rock

Only a year later, and another album from the Tygers, but already radically different from their debut. Jess Cox, the voice of the Tygers, had gone, to be replaced by the more subtle John Deverill, and the music, though still heavy, was beginning to lose its harder edge. On the sleeve, our tiger is still free, but in something of a quandary, as he prepares to cross from one mountain rock to another, this perhaps symbolising the small but noticeable shift in musical direction as the Tygers moved away from out-and-out heavy metal.

Tracks like “Gangland”, “Hellbound” and “Tyger Bay” were still heavy, yes, but they'd somehow lost the cutting edge that the tracks on the debut had had, and for me, this was The Tygers, but not (quite) as we knew them. Something had definitely changed. The addition of John Sykes, who would later become a divisive influence and almost a catalyst for the breakup of the band, also changed the sound of the guys, with more melodic, technical guitar work, which while undeniably excellent and which would serve him well in his future bands, and in his eventual solo work, pushed the Tygers in a new direction, softening the raw edge evident on “Wild cat” for a more radio-friendly sound. “Spellbound” even featured the Tygers' very first ballad, “Mirror”. Things were changing.

“Crazy nights” --- Third album, released 1982. Music: hard rock edging towards AOR.

This is where I see the Tygers' sound beginning to shift radically. Tracks like “Make a stand”, “Running out of time” and “Never satisfied”, though good enough songs, seem to reflect both the tensions that were within the Tygers camp, as Sykes champed at the bit to take the next step on his own personal career ladder, and prepared to leave the band, and the powerful drag of their label, MCA, who were less than happy with the units the previous two albums had shifted, and wanted the band to get more commercial, include more songs that could be hits, and thereby bring in the money.

Although, as I say, more than likely not intentional, the painting by Rodney Matthews on the sleeve of “Crazy nights” reflects, for me, the turmoil within the band and the outside pressures they were enduring as they fought to stay true to their musical ideals and their vision of the band. The tiger, now transplanted to a foreign land, clings to the top of a high building (the Post Office tower, I think?), King-Kong like, and swats at annoying little aeroplanes --- or perhaps I should say A&R-oplanes! --- which for me represent the continuing efforts of the label to push them in a new direction, an unwanted direction, trying to bring them down from their position of power. There's little doubt that the tiger, like the famous gorilla fifty-odd years before him, is doomed to fall...

“The Cage” --- Fourth and final album, released 1983. Departure of John Sykes, who only contributed to two tracks, and introduction of Fred Purser on guitar. Music: rock with a strong sense of AOR.

A real paradox this, and perhaps in some ways vindication for MCA, as “The Cage” is mostly acclaimed as the Tygers' best album, and it is pretty damn good. But it can't be ignored that their sound by now has changed radically. The hard edge is, for the most part, gone, and the songs are very much aimed towards singles, radio airplay and commerciality rather than the fine songs they used to craft for the love of music. I mean, let's not be silly here: no band writes or plays just for the music, unless it's a real side-project and they have a steady income from another source. Everyone needs to eat, and to eat you usually have to work. But the love of the music has now become secondary to writing hit songs.

On the sleeve, the mighty tiger has finally been captured, imprisoned, and he is not happy! From behind the bars of his cage, he roars his disapproval, almost a harkback to the original debut sleeve, but whereas there he was the king of all he surveyed, and no-one would dare mess with him, here he is impotent, captured, caged. His fangs may as well have been pulled, for all the good they'll do him. And is that hand locking the cage, or unlocking it? You'd have to assume the former. The label have slapped the shackles on the Tygers of Pan-Tang, forcing them to do what the Suits want, resulting in the release of the ****ing awful cover “Love potion no. 9”, which annoyingly and incomprehensibly was their biggest hit single. Damn MCA!

Shortly afterwards Sykes left completely to join Thin Lizzy and the Tygers, strangled by an ironclad contract with MCA which stopped them from leaving for another label, decided it was time to give it up, and the band broke up. They did get back together later, but it was never the same, and for me, the “classic” version of the Tygers of Pan-Tang ended with this album.

What a sad (if perhaps a little fanciful) story. Some artistic licence has been taken, yes, but the facts bear out my own conclusions, even if they are coincidental as regards the album sleeves. From fierce, wild, untameable free spirit to caged and beaten in three short years. No wonder the tiger is now an endangered species.

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Haven't had much Genesis in this journal, not really since it began, so here's one of their more recent tracks, in fact the one that heralded their brief comeback with the album “We can't dance”, it's the lead single from that album, “No son of mine”.