 |
| Track list: 1. Rigs Of The Time 2. Jordan 3. Across The Line 4. London Town 5. Sloe Gin 6. Courting Too Slow 7. Flash Company 8. Hopkinson's Favourite 9. One May Morning Early 10. The Outlandish Knight 11. Frogs' Legs and Dragons' Teeth 12. Fire Marengo 13. Death And The Lady Running time: 60 minutes Released: 2006 |
This album kicked off a little bit of an obsession. I have already had course to write about (the now sadly no-more) Bellowhead on these pages and it was here that my infatuation with their music and shows began. Well, sort of. Picking this up was not my first exposure - tracks from E.P.Onymous came up on a LastFM station I picked one time - but it is the point at which interest became adoration. It is hard to imagine that is 10 years ago now. I don't listen to Burlesque much so I can't in good conscience tag it a favourite; some tunes here are overdone through a decade of live performance, though others remain fresh. Some are just better done by Spiers & Boden as a duo. But this album does also contain on of my favourite tracks, one that I only got to see live once in years of regular gig-going. Now it is time to revisit all of it.
It is a little bit of an odd start. Chaotic, like a warm up, before Jon Boden's voice kicks in. The arrangement of our 11 piece has a circus-like air to it, with Boden the ringmaster. I haven't heard Rigs of the Time for an age, but it does rather encapsulate Bellowhead in a nutshell. Strong, charismatic vocal performance backed by a rich and varied set of skills an personality in the playing. Today is my last full day of holiday; off to the seaside for a final swim later, then lunch by the beach and a drink in one of my favourite spots. Tomorrow I fly home, and in 50 hours I will be back at work. I'd say 48, but I have to account for the 2 hour time difference.
Jordan was a live staple until the end, not an every gig number, but not far off. Here, on record, there is a much stronger presence for Rachel McShane, the only lady in the group, who is clearly audible alongside Boden's commanding tones. Both have solo works to appear on this project before it is done. This song is a striking number, strident and powerful; McShane was never this audible in concert though - possibly because the whole line up gave it a bit more welly live. Now we hit Across the Line, arranged by drummer Pete Flood (also has a solo album to come); this song I love to bits - there's a real haunting theme of loss in the main melody that makes the hairs on my arms stand up. This has none of the bombast of the two prior tracks, much more of an emotional appeal rather than a tub-thumping one.
The recording sounds flatter than in my memory; I think I cling tightly to the one time I saw them play it - in Cheltenham a few years back - and I am sure the arrangement evolved a bit between recording and then. The essence of the song is the same though and it... is ruined by some fucker with a loudspeaker driving by outside; no idea what that is about. I kid - the song isn't ruined, but the sanctity of my listen is disturbed by that and the resultant dogs barking (so many dogs and feral cats here it is unbelievable; screeching and barking at all hours).
Back to a live favourite now. I wont be doing the "actions" whilst listening and typing, but my muscles do reflexively want to point up and down in time with the chorus. The peppy pace and melodic tune are much more noticeable on record as the focus in a live crowd is all on the lyrics and the bolder, brassier pronouncements in the arrangement. Here I am noticing subtleties in the playing that are completely lost at gigs. Boden doesn't hold that one note for an impossible time on the album version either. After one live tune that stayed fresh, on to one that really didn't. I think I have vented about Sloe Gin on one of the live album discs (here or here) so I am not going to do so again, but rather let it slide by without comment, save to say that it is annoying me a little less than I expected.
Right, that over with, onwards.
Courting too Slow is, well... a little too slow. I have never really been a fan of it for that reason - whether Bellowhead or Spiers & Boden (as on Bellow, with bonus anti-Sloe Gin feeling). There may be a bit of too close to the truth to it, too - not literally but figuratively. I actually think, hearing it here, that I was off the mark with my comments in the Bellow post; the arrangement here is better than I remembered but it is largely still forgettable. We have dived into a slow patch, because Flash Company also has no pace to it. It begins with Boden warbling over chaotic percussion, and sporadic interventions from the wider band. It is a sonic mess, as it only really picks up a proper (vaudeville-inspired) tune after 2 of the 3 minutes. I just find it dull. Thankfully those cobwebs are blown away by Hopkinson's Favourite, a much more energetic number.
I keep getting this one and Fire Marengo (to come later) mixed up in my mind despite this being an instrumental, and Fire Marengo the "disco sea shanty" (as per live introductions). Actually Hopkinson's is not a favourite; it does well to reset expectation after two stately songs and it has its moments, but on record it is a little flat and repetitive until the 2:40 mark where we get the first and bassy exclamation. It is a much better track live.
One May Morning Early is a light-touch melody, high harmony song. It is one that I have overlooked, clearly. I really like the way they intertwine the various voices here. Boden, McShane and Paul Sartin are all very clearly audible in different places, and I am sure more of the ensemble are involved too. I find myself really liking it despite the slow pace; a nice surprise. We then dive into another number from Spiers & Boden's stable (and again discussed under Bellow). Here it is given a long-ish intro before the striking fiddle staccato kicks us in. The major plus point here over the duo version is the puff of the horns in the bass; the voice is actually too quiet though - weird that Boden wouldn't still be the loudest thing on the recording. He sounds distant, behind glass here. I think on balance that is probably the biggest reason I prefer the Bellow recording; that and the sheer impressiveness of making that much sound from two guys. Here, actually, there are significant portions of the song which get stripped back to a similar point, too - and that strikes me as a shame, not fully employing the resources to the task.
Just like I couldn't point and type, nor can I bounce up and down. Last encore familiarity. Far less engaging on record, but I can't hear it without picturing the antics of the band on stage. I am talking, of course, about Frogs Legs and Dragon's Teeth. It feels a little odd to get this in the middle of the disc. Wow, I am mistyping every other word at the moment. Never has a backspace key seen such regular use. Fingers too fast for my brain or vice versa. The tunes are still enjoyable, but it is largely that live association that is so embedded in my psyche that keeps them so; the horns that close it seem brighter and sharper than live though, as a final odd touch, then we're into disco territory.
The drums on Fire Marengo sound like handclaps in places, so much that I wonder whether they didn't record a clap track; they must have done. This song sees Boden in true demagogue mode, not contributing to most of the chorus lines - leaving his lackeys to do that. You can hear the strut in his voice, and it is marvelous. The man is such a performer, unquestionably the best I have ever seen for sheer charisma, force of personality and commanding a stage in any discipline. It's really hard to judge cross-style things; the strongest stage acting performance I have seen was Mark Strong in Under the Bridge where he absolutely killed it, but I would happily back Jon Boden in a head to head for charisma. My musical bias, perhaps, but the man is a born performer.
The final number (my, the hour has gone fast) is Death and the Lady, which sees McShane sharing vocals again. I love how their voices wind around each other - her more delicate and clearly northern tones offsetting his bolder ones. I actually find the arrangement here great. The tune is a very stately one (I have other versions) but they create space in the top end to explore and add oodles of interest. The wandering trumpet is the star here though. When they pick up the pace with the drums but maintain the plod of the accordion playing the standard pace, it falls apart a little. Here the two-speed sound really doesn't work for me. Thankfully it is but a small part of the tune, which as a whole is far, far more interesting than I remembered. Suddenly it is done, and I am left with the task of hitting publish, then going back through old posts to find references to this - of which there are a few.
It is a little bit of an odd start. Chaotic, like a warm up, before Jon Boden's voice kicks in. The arrangement of our 11 piece has a circus-like air to it, with Boden the ringmaster. I haven't heard Rigs of the Time for an age, but it does rather encapsulate Bellowhead in a nutshell. Strong, charismatic vocal performance backed by a rich and varied set of skills an personality in the playing. Today is my last full day of holiday; off to the seaside for a final swim later, then lunch by the beach and a drink in one of my favourite spots. Tomorrow I fly home, and in 50 hours I will be back at work. I'd say 48, but I have to account for the 2 hour time difference.
Jordan was a live staple until the end, not an every gig number, but not far off. Here, on record, there is a much stronger presence for Rachel McShane, the only lady in the group, who is clearly audible alongside Boden's commanding tones. Both have solo works to appear on this project before it is done. This song is a striking number, strident and powerful; McShane was never this audible in concert though - possibly because the whole line up gave it a bit more welly live. Now we hit Across the Line, arranged by drummer Pete Flood (also has a solo album to come); this song I love to bits - there's a real haunting theme of loss in the main melody that makes the hairs on my arms stand up. This has none of the bombast of the two prior tracks, much more of an emotional appeal rather than a tub-thumping one.
The recording sounds flatter than in my memory; I think I cling tightly to the one time I saw them play it - in Cheltenham a few years back - and I am sure the arrangement evolved a bit between recording and then. The essence of the song is the same though and it... is ruined by some fucker with a loudspeaker driving by outside; no idea what that is about. I kid - the song isn't ruined, but the sanctity of my listen is disturbed by that and the resultant dogs barking (so many dogs and feral cats here it is unbelievable; screeching and barking at all hours).
Back to a live favourite now. I wont be doing the "actions" whilst listening and typing, but my muscles do reflexively want to point up and down in time with the chorus. The peppy pace and melodic tune are much more noticeable on record as the focus in a live crowd is all on the lyrics and the bolder, brassier pronouncements in the arrangement. Here I am noticing subtleties in the playing that are completely lost at gigs. Boden doesn't hold that one note for an impossible time on the album version either. After one live tune that stayed fresh, on to one that really didn't. I think I have vented about Sloe Gin on one of the live album discs (here or here) so I am not going to do so again, but rather let it slide by without comment, save to say that it is annoying me a little less than I expected.
Right, that over with, onwards.
Courting too Slow is, well... a little too slow. I have never really been a fan of it for that reason - whether Bellowhead or Spiers & Boden (as on Bellow, with bonus anti-Sloe Gin feeling). There may be a bit of too close to the truth to it, too - not literally but figuratively. I actually think, hearing it here, that I was off the mark with my comments in the Bellow post; the arrangement here is better than I remembered but it is largely still forgettable. We have dived into a slow patch, because Flash Company also has no pace to it. It begins with Boden warbling over chaotic percussion, and sporadic interventions from the wider band. It is a sonic mess, as it only really picks up a proper (vaudeville-inspired) tune after 2 of the 3 minutes. I just find it dull. Thankfully those cobwebs are blown away by Hopkinson's Favourite, a much more energetic number.
I keep getting this one and Fire Marengo (to come later) mixed up in my mind despite this being an instrumental, and Fire Marengo the "disco sea shanty" (as per live introductions). Actually Hopkinson's is not a favourite; it does well to reset expectation after two stately songs and it has its moments, but on record it is a little flat and repetitive until the 2:40 mark where we get the first and bassy exclamation. It is a much better track live.
One May Morning Early is a light-touch melody, high harmony song. It is one that I have overlooked, clearly. I really like the way they intertwine the various voices here. Boden, McShane and Paul Sartin are all very clearly audible in different places, and I am sure more of the ensemble are involved too. I find myself really liking it despite the slow pace; a nice surprise. We then dive into another number from Spiers & Boden's stable (and again discussed under Bellow). Here it is given a long-ish intro before the striking fiddle staccato kicks us in. The major plus point here over the duo version is the puff of the horns in the bass; the voice is actually too quiet though - weird that Boden wouldn't still be the loudest thing on the recording. He sounds distant, behind glass here. I think on balance that is probably the biggest reason I prefer the Bellow recording; that and the sheer impressiveness of making that much sound from two guys. Here, actually, there are significant portions of the song which get stripped back to a similar point, too - and that strikes me as a shame, not fully employing the resources to the task.
Just like I couldn't point and type, nor can I bounce up and down. Last encore familiarity. Far less engaging on record, but I can't hear it without picturing the antics of the band on stage. I am talking, of course, about Frogs Legs and Dragon's Teeth. It feels a little odd to get this in the middle of the disc. Wow, I am mistyping every other word at the moment. Never has a backspace key seen such regular use. Fingers too fast for my brain or vice versa. The tunes are still enjoyable, but it is largely that live association that is so embedded in my psyche that keeps them so; the horns that close it seem brighter and sharper than live though, as a final odd touch, then we're into disco territory.
The drums on Fire Marengo sound like handclaps in places, so much that I wonder whether they didn't record a clap track; they must have done. This song sees Boden in true demagogue mode, not contributing to most of the chorus lines - leaving his lackeys to do that. You can hear the strut in his voice, and it is marvelous. The man is such a performer, unquestionably the best I have ever seen for sheer charisma, force of personality and commanding a stage in any discipline. It's really hard to judge cross-style things; the strongest stage acting performance I have seen was Mark Strong in Under the Bridge where he absolutely killed it, but I would happily back Jon Boden in a head to head for charisma. My musical bias, perhaps, but the man is a born performer.
The final number (my, the hour has gone fast) is Death and the Lady, which sees McShane sharing vocals again. I love how their voices wind around each other - her more delicate and clearly northern tones offsetting his bolder ones. I actually find the arrangement here great. The tune is a very stately one (I have other versions) but they create space in the top end to explore and add oodles of interest. The wandering trumpet is the star here though. When they pick up the pace with the drums but maintain the plod of the accordion playing the standard pace, it falls apart a little. Here the two-speed sound really doesn't work for me. Thankfully it is but a small part of the tune, which as a whole is far, far more interesting than I remembered. Suddenly it is done, and I am left with the task of hitting publish, then going back through old posts to find references to this - of which there are a few.
No comments:
Post a Comment