Fucking Prayer
I’ll start with fourth track Rabbit Plateau, a gentle, flute-led acoustic track that begins
instrumentally and then eventually arrives at its folk leaning melody, a
beautiful Randy California-like guitar at work within. This is followed by the
harmonious with horns song Duke of Shakespeare
Street, flute again as on the whole album a prominent instrument, and
Sophie Sexon leading the beautiful singing, just before the birds join in at
the end.
Next, Bad Salad Boogie,
delivers the band’s and this album’s flipside, a wild sax opening that smooths
into those horns and flute again – this instrumental core having echoes of
jazzrock from before, but retaining a Britishness [though a Glaswegian band whose
members may not have voted to stay…] which is more brass-band and even light
orchestral.
The gifted outfit is Justin Lumsden (electric and acoustic
guitars, vocals), Sophie Sexon (flute, vocals), Richard Merchant (trumpet,
tenor horn and cornet), Ross McCrae (trombone), Alasdair C. Mitchell (bass
guitar) and Nigh Gaughan (drums, percussion), and whilst owing much to folkrock
and other of the 60s and 70s [main songwriter Lamsden has been quoted in an
interview that his record collection contains nothing beyond 1976] there is a
contemporary take on its clever manipulations of old, and some new, on this
album. Indeed, eighth Remember Handsome Tony
mixes Beefheart, Dr Feelgood and Blood, Sweat and Tears in its pumping,
spoken-narrative performance, horns and organ driving it all onwards.
The album opens with When
We Were Young which has another Beefheart echo, more in the rhythmic jolts
than singing as Sexon is a Captain of Sweet, and female. Perhaps the sound here
is also Principal Edwards, but whatever, it is a great start. Dog People follows with that BS&Ts
sound very much in evidence in its horn-orchestrated start, the flute joining
with the runs. Then the saxophone creeps in literally, another spoken narrative
[Beefheart-esque again or Jim ‘Dandy’ Mangrum in the growl] adding to the
gothic/horror theme, bass pulsing, organ whirling, horns and guitar riffing: it
is playful in its crossovers. Third Turn
to Prayer mixes it up yet again with horn triumphs and then spoken
narrative, this time Sexon providing the comic line about fucking prayer, and the song explodes. Wonderful.
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