Sunday, 21 July 2013
In Cassidy's Care- Miracle Mile (2013)
When I set up my Marshman blog last year, one of the things that I said that I would use it for was to draw to people's attention music that I felt had been unjustly overlooked. In my humble opinion, music doesn't come more unjustly overlooked than that of The Miracle Mile. I'm sure that the the reaction of people to that sentence is WHO? This proves my statement that they are overlooked to be correct at least, we'll come to the "unjustly" part in a moment. But bear in mind that no one likes injustice!
Miracle Mile are Trevor Jones and Marcus Cliffe. They started making albums in 1997. Their latest album, In Cassidy's Care, is their 8th, plus there's a compilation "Coffee and Star"s and Trevor Jones has done two magnificent solo records. Them's the facts. Here's the opinions. In my view these records form the most consistently excellent body of work (hem, hem) of any artist in the last 16 years.
Pause for BIG statement to sink in. And for those that know me to pour themselves a stiff drink to help them recover from the fact that I have been so positive, as I tend to better know for railing against musical drivel!
So you may ask, what do they sound like. these Miracle Mile people? Well without wishing to ask for a hearty slap, they sound first and foremost like the Miracle Mile. They really do have a sound of their own (This isn't as facetious as it sounds, honest, lots of artists sound distinctly like someone else: The first two Vampire Weekend albums (fine as they are) were deadringers for Paul Simon's Graceland and Stevie Wonder didn't need to make an album after 1993 because Jamiroquai made them for him). But, if you need reference points, from a musical perspective early on you could hear echoes of Crowded House and then as time passed, Steve McQueen era Prefab Sprout and possibly a soupcon of Grant McLennan's stuff both with the Go Betweens and solo.
Without heading off down the road called "Musical Cliche Avenue" then, we are in the land of richly melodic songs, wonderful evocative tunes, music with a real emotional pull. This isn't background music, boys and girls because this draws you into the world it creates. DO NOT listen to this while driving, for example, because the central reservation would beckon!
And it's not just the music that pulls you in but the lyrics as well. Trevor Jones is a truly gifted lyricist who writes songs about everyday emotions and the things that effect us all. Now that may sound like faint praise but think about how many lyricists do that, and use words that you can understand to do it with as well. I mean I liked Elvis Costello (Well, before he grew a beard and embarked on his ill advised sojourn into other musical genres such as Classical, Opera and Torch Songs, shudder) but when all the music critics said he was the greatest lyricist of his generation, I had to disagree. Most of his stuff sounded incredibly clever but what does it actually MEAN? No such problems here, try this on for size, from the new album
"I thought I was a dragon slayer but the years they just drip you dry. Now I'm just a bit part player, saying "I love you, goodbye."" If that doesn't move you, check your pulse, you may have clinically expired!
I fully appreciate that there is no such thing as good music or bad music, it is all a matter of taste but I am at a loss as to why this incredibly talented and consistent band has not had more success. And frankly this needs to change RIGHT NOW with the release of this, their new album, "In Cassidy's Care". To my mind this has been a very strong year so far for albums, with great records from Merry Hell, Noah and The Whale, Phil Odgers, Dropkick Murphys, The National, Kacey Musgraves and the Duckworth Lewis Method to name but a few but this is right up there with them.
Although the official release date is 22nd July, I was very fortunate to get my hands on an early copy back in April so have lived with it for three months and we have got to know each other well. "In Cassidys Care" is basically a concept album (No, wait! Come Back! We're not in 70s Prog Rock territory here) with the 12 songs telling the story of a man named Cassidy (Surprisingly), the break up of hiss relationship, the impact that that has on his family and how he comes to terms with that and moves to a more optimistic place.
At which I fully appreciate that you may go "Sod that for a laugh, sounds heavier going that wading through tar with a baby rhino on my back. I'll stick to Bastille, thank you". Let me stress then, that whilst this is undoubtedly a thought provoking and emotional record, it is a long way from depressing. Reach for a cheeky glass of red whilst listening to this by all means but there's no need to hide sharp implements. Anyone familiar with the works of Richard Hawley will know that there is a thin line between sad and beautiful (Lady's Bridge) and bloody depressing (True Loves Gutter). As implied earlier, you are in the hands of a master with Trevor Jones and we are definitely in beautiful territory here. Rest assured of that.
Appreciating that most people who read this will never have heard a Miracle Mile record before, it's probably pointless to say how I think it compares to their previous records but, hey, I'm a cheeky so and so so I will anyway. I'm actually going to go out on a limb and say that I think it's their best. If their past records had a fault (and seriously we're in nit picking country), it's that they've been slightly overlong. At 12 songs of a decent length, that issue doesn't apply here. And whilst great albums don't need overarching (Steady..) stories (Out of Control by Girls Aloud didn't have one, nor did London Calling) it works here.
Along with it's melodic strength, emotional punch and lyrical beauty (Do you need anything else? You are greedy!), this album has two other great strengths: Firstly it is superbly played and produced. I am not a musician by any stretch of anyone's imagination but I am always struck by how well Miracle Mile albums are put together and how clear everything sounds. In this area, they remind me of the Blue Nile (A band of whom Trev is a huge admirer).
Secondly this is a very consistent album. Actually this has been a feature of many of this years strongest records but usually it's a rarity. Normally when downloading an album, you give a couple of tracks a miss, or if you're an old git like me, you reach for the skip button on the the stereo, knocking over the Ale bottles in the process. Not a problem here. In fact it's almost unfair for me to single out any tracks for special attention but there is one track that even in such august company, does stand out because it is a staggeringly beautiful song and the best song that I have heard this year. Track 8 (Well done lads, never open with your best song, otherwise it's all downhill from there!) "Any Human Heart". It's worth the admission alone!
There's so much more I could say about this marvellous record but I would end up sounding like a dribbling goon. The fact is that there is an injustice here. This wonderful band have had their work consistently ignored by the British public for the last 15 years. This album is in grave danger of following it's predecessors into the dark abyss. DON'T LET THAT HAPPEN. If you have a spare tenner in your pocket, don't spend it on beer, don't buy sweets for the kids (think of their teeth) and certainly don't spend it on Bastille. Instead do yourself a favor and do your ears a favour and go to www.miraclemile.co.uk and bag a copy of In Cassidy's Care. Listen to it and then buy all their other albums. No one likes injustice, do they?
Friday, 19 July 2013
Warning: This Band is past its Sell By Date!
A few weeks ago the opportunity landed in my lap to see the Pet Shop Boys for FREE at the O2. Excitement coursed through my veins. I had been a fan of the Pet Shop Boys since West End Girls strode to Number One on the Hit Parade back in January 1986, all of 27 years ago (A thought that I will return to shortly). In my humble opinion, this kicked off one of the great runs of singles in British Chart History: Love Comes Quickly, It's a Sin, What Have I Done To Deserve This?, Rent, Heart, Domino Dancing etc etc. Neil Tennant himself referred to this as the bands "Imperial Phase" and he was not wrong. The second half of the 80s was, frankly, a sad time for Pop Music. Even now my therapist's income increases whenever anyone mentions Stock, Aitken and Waterman to me, or Jive Bunny and his Mastermixers or anyone Jacking their Body or Pumping up the Volume. Along with Madonna, Erasure and A-ha, The Pet Shop Boys held the torch for Pop Music that was both memorable and fun during those dark years.
And so my mate Alex and I trooped along to the O2 anticipating an evening of hit after after, a veritable banquet (if you will) of pop classics. And lo, gentle reader, we could not have been more dissapointed if I had opened the door of my house expecting to see Jennifer Lawrence popping round for tea and scones, only to be greeeted by Thom Yorke in a mankini. Rather than carress the ears of the masses with a smorgasbord of hits, Messrs Tennant and Lowe decided to play a set comprising largely of songs off their last two albums and the new record, "Electric". True they did perform a few oldies but , frankly, these were half arsed versions. The evening to coined a phrase "sucked like a Dyson".
Over the next few days I couldn't stop thinking about what I had experienced. Please excuse the Anglo Saxon but why had they been so shit? Were they being willfully perverse? Were they being Ironic? What had happened?
Now I appreciate that at this juncture you may not agree with me but my conclusion was a scary one. I realised that I hadn't actually enjoyed a Pet Shop Boys album since "Very" in 1993 and therefore a voice in my head was saying that the reason why the Pet Shop Boys were rubbish at the O2 is that they are, frankly, past it!
Like I said. I realise that this is a BIG statement and many of you may be looking in the Delia Smith recipe book for fricassed testicles. But it led me onto an even bigger thought. Popular Music is OLD. Rock around the clock is widely regarded as the first major Pop single. It came out in 1955. That's almost 60 years ago. That's pensionable. When I was young (hem hem) even the major 60s acts had only been going 15 years. Now that's closer to 50 years!
This means that there are an awful lot of acts out there, my friends, who have been going for a LONG time and they have to stare down the barrel of a gun and face up to an awful question "Are we past it?". Last year REM looked down that self same barrel. For years they had been releasing albums which the critics greeted with the mantra "Ooh it's a return to the heyday of Automatic for the People! Buy in droves!" Sadly the masses responded with a resounding "Meh!" and each successive album died on its arse. And so (and fair play to them) REM turned round and said "We're retiring" which was as good as saying "We haven't made a decent album since 1992, see ya, don't want to be ya"
Now I've singled out the Pet Shop Boys in all of this but the fact is that as Popular music gets older, many bands and artistes will be faced with the fact that time is marching on and our old friend the muse is in danger of deserting them so what do they do? Clearly the REM route is one way forward but may I suggest that here are some others when you hear the clock ticking
The Bruce Springsteen route: Keep the creative juices flowing and release albums that are genuinely good rather than simply fawned over. Back this up with live shows where you PLAY THE HITS
The Elton John route: A variation on the above. Realise that your early albums were creatively your best and make new albums that sound JUST LIKE THEM. This is tricky as it involves you engaging creative juices otherwise you will be accused of regurgitating past glories (The Neil Young route)
The Rolling Stones Route: Don’t release any more new material. Just PLAY THE HITS live
The Paul McCartney Route: Appear at every major Cultural event and play a FEW HITS. No one cares that you don’t tour regularly or release anything as this keeps you in the public eye. This is a dangerous route as there is a thin line between ubiquitous and annoying
The Bon Jovi route: Keep releasing new material but make sure it is essentially the same album over and over again
The Bob Dylan route: Make albums that are critically acclaimed but then put everyone off by becoming the byword for “Shocking live performances" (Tennant and Lowe need to be dragged screaming along to a Dylan concert as they are in danger of going down this road)
The Elvis Costello route: Branch into other musical genres. NOT RECOMMENDED!!
The U2 route: Don’t tell anyone you’re retiring but vanish so effectively you have retired
The Michael Jackson route: Die but sell lots of records posthumously. Lucrative but not recommended for perhaps obvious reasons
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