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Other people’s
lives: the story so far …
G: Well, I like it! Would be interested in other opinions.
D: Much better than I was expecting. To my surprise an album I enjoy where I don’t feel the need to reach for the Forward
button even after a number of listens.
Andy (wife, Andrea) volunteered a thumbs up whereas previously for post-Hillbillies stuff
it’s only been a ‘best of’ compilation I threw together for a couple of doubter
chums that has held her attention.
I await the magazine reviews with
considerable interest – hope someone gives it to Jon Savage. And Jesse Walker on the
KPS.
R: I wrote this without reading the other reviews so really
didn't counter point anyone and my comments lack some depth but the capture my feeling.Also, not having a chance to hear Ray live, all
songs were new to me.
O: It was a relief to KNOW that the album was real, and pretty much definitely due to be released some
time this century! There is vaguely encouraging review in this month’s Mojo. Ray has
actually claimed in another Mojo interview (Nov?)
that this album is autobiographical!
Rather unusual of him to admit anything of the sort. Is he mellowing, or
once again throwing sand in our eyes? If he is baring his soul, then maybe this
is his “Songs of Experience” album (after all, we are all exhorted to write
about what we know!)
When I
first heard “Morning After” I had the feeling that he had written this song
about his relationship with Pat (before I knew that they had parted). There are
songs in the Kinks kanon which I am sure refer to the
ending of his relationships with Rasa and Yvonne, and I am convinced that some
of those on this album are the musical exorcism of his relationship with
Pat. (Not to mention Suzanne).
I delighted that he has used keyboards on the
album; how could he not? I really miss
them on stage. I reckon he won’t have a keyboard on stage because he’ll have to
pay for another musician! Also lovely to hear some sax and the odd moment or
two of harmonica
I have found this album to be in general, one of
hope, of overcoming adversity. We were
all a bit baffled and dismayed when Ray chose to sing Yours Truly Confused N10
that New Year’s Eve, and we found no humour as such to deflect from its sad
message (despite the jaunty accompaniment).
We wondered what had happened to our Ray who used to sing of silver
linings, and better things. We could see our country going to the Dogs, but we
wanted him to tell us that there was something better round the corner. The
gloominess was a surprise and there was no let up. This sentiment is echoed in
Stand Up Comic, another song with a nice bouncy rhythm
belying the savage (and true) sentiments. Other People’s Lives is also another
song in the angry vein, well maybe not angry – scathing perhaps.
Angry is
his live and heartstoppingly brilliant 20th
Century Man. I played the original a few
weeks ago, and it seemed tame to what Ray has made it now. However I’d say that a good percentage of the
songs on the album are about new beginnings; however painful they might be.
Every day this week I have been waking up
with a different track running through my head. It’s ages since that has happened.
L: For what it's worth, here's
my comments on Other People's Lives. I probably shouldn't have,
but I did skim through the thread so far, which Rob forwarded to me. My
comments, however, are what I would have written had I not seen any of the
comments.
My overall impression if one of great pleasure and relief. This is a great
album! The relief comes in realizing that Ray did not waste all this time
he's spent working on it. I love the title, "Other People's
Lives," just because it's such a succinct description of so many of Ray's
songs over the years. Not a total triumph, but strong and
consistent. For instance, I don't think there's anything as weak as, say,
"Somebody Stole My Car."
Ray's voice is in excellent form throughout. It certainly
sounds like Ray music, but without Dave's guitar it doesn't really sound like
the Kinks to me (which is not necessarily a bad thing).
"Morning After" G: I have
always liked this song, except for the very first
Not sure what I would have thought if I hadn't
heard it live first.
W: Any album that starts with whale song gets my vote :)
Things are gonna change I really like. I haven't got a clue what he's going on
about, but I like the tune, the twangy guitar, and
the fact that I can join in singing "Things are gonna change" in an indignant
spleen-venting fashion.
BG: I agree with g about the live version. If I'm not
mistaken it had that very long and weird instrumental break/intro which was a
bit different. Great song, all the same, puts me in mind of Do It Again, which
of course he paraphrases.
D: I love the overall noise of MA. Think it’s potentially one of those tracks
that turns heads when it comes over record store PAs. Particularly
like “You feel shite / the air bites” and “I will, I
bloody well will”. Reaches the parts
other songwriters would never dream of acknowledging in song.
R: Liked it when I first heard it, reminds me of 80/90's Kinks.
O: When I heard this at
L: My favorite on the album. This
one grabbed me within the first 30 seconds and I knew right away it was a
classic. Great slashing guitars, pounding rhythm,
a mood of foreboding balanced by defiance and hope. You
can hear something different with each repeated listening.
"After The Fall" G: Good song,
glad the lyrics are sorted now, apart from the dubious use of
"platitude" again) but I think he has gone the wrong way with the
arrangement. Would have been better with big strings and not so much harsh guitar, and I hate the higher register power singing (aka
shouting) towards the end. The Spivs version will be better :-)
W: After the Fall should be bad, but is one of those songs I liked first time round and still do. The tune sort of mooches along doing tuneful things with a juicy couple of guitar chords making sure you don't forget they are there.
Lyrically there's the sort of positive stuff in there that you can choose to ignore if you prefer the doom and gloom bit, or should the whim strike, you can be braced and uplifted by some lovely almost Meatloaf purple meaningfulness. 'Seems like I'm falling upwards.' Fantastic!
BG: Not really sure what I think of this one. It plods
along a bit, (then it plods along a bit more), but I like the heavy guitar
riff. Lyrically it's interesting and as
D: Classic late Kinks. Nice opening.
Tremendous song full of self deprecating humour and,
um, wisdom with some great lines.
Despite a certain clumsiness and conscious
artfulness at times in the lyrics, he gets away with it because it’s such a
great vocal performance – I hear passion more than shouting. “I shouted to the heavens / And a vision appeared / I cried out, Can you help? / It
replied, Not at all” sets the tone beautifully – he’s out of the doom from the
start. I can live with ‘platitude’,
quite like it actually. And please, no
strings necessary.
R: Grew on me, currently one of my favorites
on the album, like the feel of Ray's voice.
O: What a beautiful silver intro which deceives
the listener into thinking this is going to be a gentle song…then BOOM, KARRANG
we’re into something much different. He
has used “platitudes” in the right context but why are they “high”?? Is it like
High German, or even High Mass? Loads of
spiritual imagery here, and the inclusion of “Bleak
Midwinter” adds to it all. This song really lifts me to a higher level….”Seems
like I’m falling upwards into the deep wide blue” is just a perfect killer
line. I did expect a bigger choir, and I think I too expected strings. Not sure
if the echo on “way we’re gonna go” actually works. More of Ray’s favourite
Mist imagery too which has pervaded many of his songs.
L: Very strong track. The first lines make me wonder if he's
referring to his
"Next Door Neighbours" G: I
know there are some who think the lyrics a bit patronising, but I have no
problem with them. I bet O was delighted that
I think Ray has missed a trick here. There are
some nice bits of brass coming in, but I think there should be a lot more - the
whole thing could really bounce along - in the style of Oasis's
"Importance of Being Idle" :-)
W: BG says I could say that he is keener on this than I am. Well, I could say that, but equally I could say that almost anyone is keener on this than I am. Indeed, this is the first time I have not pushed the 'next track' button when it has come on (I am listening as I type). g is right to say that some people think this song patronising. There is just something deeply smarmy about the whole thing. As if he has thought 'Hmmm. let's write a song of nice little encapsulated vignettes that reflect my natural aptitude for writing about the little people in my inimitably English style' Or something similarly pretentious. As if he has believed all the rhubarb written about Village Green and suffered a head up the bum moment or two... well, mercifully we are on to the next track, so I can stop ranting.
BG: No we're not, because I'm going to have my say :-)
This has grown on me since I first heard it way back in 2002, I think. Then I
thought, oh blimey it's one of Ray's formulaic 'little people' songs, but I
don't dislike this album version.
Back in the 60's, a reviewer
once countered the criticism that Rays lyrics were
patronising by pointing out that he invariably wrote from a sympathetic standpoint,
and I think that applies in this case. "They say he may have hit rock
bottom, still, he went out with a bang, so he is not forgotten" saves the
song lyrically in my view.
D: I’m with W in her surmise as to the song’s
generation but I have to say that the recorded arrangement has won me over -
there’s a compassion in the vocal and the melody is
accentuated. Just wish he’d come up with
better names and that insistence on the Mr.
R: Typical Ray, enjoyable but no one that grows on me with
repeated playing.
O: The first two times I heard this he sang “
L: This was one of my least favorites at
first. It almost seemed like a parody of a Ray song. Upon
repeated listenings it is growing on me
more. The lyrics are better and more genuinely poignant than I
originally thought.
"All She Wrote" G: I think
this is terrific - my favourite track. It has the wittiest lyrics and it has
turned into a proper pop-rock song. Love the drums. I might even be persuaded
to dance to this. Still not sure why he was and is a cold piece of Spam :-)
W: I really liked All She Wrote the first time I heard it,
even if it did lead me off on a flight of fancy about what it is with Ray and BABs. (I don't know if it was my imagination, but
Australian hussies seemed to crop up several times at
The jangly noisiness
of it quite appeals, although I am told it would be better if Mark Johns played
his guitar with his testicles, which has me a little bemused. I rather like the
irony of someone going off with another bloke on the strength of how much they
resemble the old, or even of thinking it might be some sort of comfort for the dumpee.
BG: My favourite track on the album. Great tune and witty
lyrics reminiscent of Ray at his best, and what I actually said was it's a pity
Mark Johns doesn't play with a bit more balls :-)
D: A hell of a song, and yes that is a great
line, “He reminds me of you”. But what about “A few killer lines on that suicide note” at the
end? Is she really dead? Am I hearing
it right? If so, what’s the new
vegetarian boyfriend about? Or is it –
dark, dark, dark – her recognition of some sort of repetition compulsion of
doomed relationships? I hope someone
asks him about this in the inevitable round of interviews that must ensue?
I love the ooh oohs,
they lift it to another dimension and then the organ comes in. Pye era chord riffs
in there throughout too. Bitter scam, I think.
R: Good energy, meld of 2000 Ray with 80's feel, Ray vocal's work well. A favorite
of mine, would be on a Ray GH album.
O: Oh, what a
brilliant song! I too stopped in my tracks when I heard the “suicide note“ line. I can’t
remember it being in the song when he originally sung it. Remarkably
witty and yet as DQ says, DARK. Yes, I think this is a gold covered
bitter chocolate mint of a song. Maybe she left him for the other bloke, and
yet couldn’t face life without the miserable bugger and ended it all anyway. I
love the line “That’s all she wrote, on the back of an old brown envelope”. The great lines that a woman would very possibly write to an ex lover.
It all seems so realistic, which makes me wonder if he is actually quoting from
something an ex lover wrote. Interesting that she left him
for someone very similar – a well known phenomenon. I bet the Ray person
used to laugh a lot in the early days! This song just rings so true. But that
suicide note just turns it all on its head…it’s not just an ordinary goodbye
note. “Killer lines” – “Suicide note” clever juxtaposition.
To me it sounds
like the “cold bitter scam” was written by the girl, about herself. Love the
organ in the background.
L: Another solid rocker. Great,
driving, "middle eight." Kinks-ish backing
vocals. The "suicide" twist at the end is a bit of a
shocker. Still trying to work that bit out.
"Creatures of Little Faith" G: I am really not sure why I don't like this more than I
do. I really like the chord progression and the guitar work (hints of George
Harrison?), and there is sax on it - I always wished the Kinks had used sax
more. Unusually, I think it must be the lyrics that bug me, although they seem
well enough constructed and form a coherent story. They get off to a bad start
with the tacky "You caught me with my pants down, But I was only taking a
shower" (Hmmm, that IS pants, Ray). Also I don't like the "talky"
style that creeps into the singing.
W: Creatures of little faith should be good, but leaves me cold. A shame, as I thought when I first heard it that a couple more years rumination would turn it into something quite special. Somehow it reminds me of 'to the bone' but without the ability to insinuate itself. Even the sax doesn't do it, which is cause for concern! And I hate the talky bits. And as for the overdone glottal stop, ARGHHHH! Just rather disturbing that it has many of the things that should make a good song and still manages not to be. (IMHO, no offence)
BG: Likewise, should be better than it is really. It's
alright I suppose, nice enough melody but as g and W have already said, not
even the sax saves the day. I agree with the 'talking' comments to.
D: I share some of the misgivings and also hate, nay loath, the opening lines. I guess it’s meant as metaphor rather than dramatic action but it just doesn’t work. Does no-one in the organisation have the balls to to give Ray genuine constructive criticism? Yes, it could be so much better than it is. Nice overall sound, good hook of a tune with interesting guitar tones. Nice lyrical inversion in, “I am …”
R: Accessible, passable album track, little overproduced.
O: The opening lines don’t do it for me (despite
the mental picture of Ray in the shower!) If I came up with this line at a song
writing course, I am sure he would condemn it as trying to get a cheap laugh.
However, it’s a clever story, going from one suspicious mind to another, and
sadness at the lack of faith people have in one another. The sax is great (they
always say that! LOL!) However, it finishes on an
upbeat message. It’s not my favourite track I must admit. And I don’t think
anyone in his little set up does have the balls to advise Ray on his lyrics or
anything at all for that matter! He should come to us first, we’d set him
right! Yes, and why the glottal stops? Dearie me.
Like the shaker at the end.
L: I love this one. I think the melody, vocal, and
arrangement are gorgeous. Witty and touching
lyric. One of my favorites.
"Run Away From Time" G: Great. How
could I not love this? It has piano AND organ! It rocks too. Is that Dave
Davies on guitar? (No, I know it isn't, but it sounds as if Mark is doing a
Dave impression.)
Haven't got a clue what the lyrics mean
though. Can you run away from time or not?
W: Time is the avenger. Wot?!? John Steed? Emma Peel? I just don't get it. 'Hey Girl, lets run away from time why have time when there are platitudes to climb? Maybe baybe you can save me from the avenger ... '
Is it me, or has he just got lazy? I feel somewhat let down that after umpteem years twiddling with the album, he has still left some pretty sloppy stuff in. Probably totally unfair of me, but it feels rather self-indulgent, like the bleedin lonesome train. Surely there are other epithets available.
BG: I agree, a bit of a filler
in my view. Ok, it rocks along, but the lyrics are very poor, a really good
example of words to fill gaps.
D: Very acceptable filler. I don’t really listen, rather just swan
around in the glorious ensemble classic ‘80s Kinks sound and, yes, the DD
impersonation observation is spot on. I
thought I heard his voice in there
too just the once. Time is the avenger?
– some sort of karma if you let it?
R: Another favorite
from the album on initial hearing, nothing too deep, an easy listen.
O: “Good Bye Honeybunch”
beginning? This is glorious! God I love it to death! I think The Spivs will do
an extremely good cover version of this! I jump about to this and sing at the
top of my voice. Yeah, I think DQ has got the answer, to the Time is the
Avenger question – karma’s gonna getcha! J Maybe it is a
song for the slighter older generation, many of whom are preoccupied with
trying to turn back the clock (including himself with his red hair dye! ;-) ) Absolutely bleeding brill!! I hope he does this live
(although I’ll miss the keyboards). Mind you, I am a little confused about the
lyrics, at one moment he is dissing people for trying
to turn back the clock, and then he exhorts his loved one to run away from time
with him. Is he with a younger woman, a
relationship with which will help make him feel younger? The oohs are nice.
L: This one reminds me of the Rolling Stones for some reason.
Ray trying to escape the aging process? Kind of lightweight, but very enjoyable. Was the
"time is the avenger" line a conscious nod to Chrissie Hynde's "Time the Avenger"?
"The Tourist" G: Love it.
Good feel to it, nice riff, splendid bridge. I like
the power chord section too, but I wish there were lyrics over it - it seems a
bit of an odd digression as it stands.
W: Oh thank goodness, something has come on that I think
is just brill. I love the Tourist. All atmospheric and moody, and captures the
feeling of the Chinese in
you in the concrete shopping centre and pounce on you as you negotiate another
poorly lit set of steps?.....
I really like the way it lopes along in a semi-hypnotic way and is full of stuff that is well crafted enough to look as if he hasn't had to try. I don't personally have any problem with the loud bit of noisy goings on without vocal stylings , but can 'see' what the noise is being, in a synaesthetic arty farty sort of way, so it justifies its own existence in my book.
BG: I pretty much second the above and I've been to
that Chinese in
D: Fantastic!
I’m with W on the loud bit of noisy goings on. I’d go so far as to claim it as one of the
great moments of rock and roll. A boiling resentment and frustration at the
situation the verses describe – we are all implicated in this, there is no
escape – and a gleeful recognition of what fun it is to make all this musical
noise. Love it. He has to add keyboards to the live band.
R: Really wanted to like this a lot, it is
good, it is the new Ray, but with repeated playing falls to an album track,
have not heard it live but may work better with less production.
O: Gawd, we’ll have to eat somewhere else than
that Chinese now!! J I’ll have visions of this song every time I go there.
Bloody great fantastic song! It makes me want to
snake around the room to the sinuous sounds. I was so excited when I heard this
in the
L: I'm not sure about this one. The lyrics seem to cross the
line into mean-spiritedness. The jury is still out, but so far not one of
my favorites. I do like the abrupt ending.
"Is There Life After Breakfast?" G: A bit of a
throwaway but a fun song. Error in the lyrics - "Pour the tea and I'll be
mum" doesn't work - should be "Make the tea..."
W: Life after breakfast. Brill stuff. All
kinds of neat little tuney tricks that not doing O
level music makes me unable to discuss, but I like them. Also, there are
several examples of Ray's wonderful disregard for where the stresSES
on cerTAIN syLLAbles should
be, which
always make me smile, and some lovely lines like 'Don't turn into a total
embarrassment to your friends and family' And the angelic little tail off is
just so awful it's wonderful again. Did I say I like this one?
BG: Hear hear. I don't think
this is a throwaway at all g. A Lola strum to open, and echos
of Two Sisters throughout, particularly the middle eight that sounds like it's
about to go into "She'd throw away her dirty dishes just to be free
again", Great!’
D: Yes, I like it a lot. Will be great to sing along
to. What larks. Maybe goes on a bit too long. Nice slide guitar, lovely coda.
R: A "Predictable" Ray song, a bit
long but I think about it after breakfast!
O: Oh another fave. I
wonder if this is the sort of advice Mum Davies gave her boys when they went
home with a broken heart and he’s recalling what she said to jolly him along. (For some reason I keep thinking of Chrissie Hynde
here, when he definitely WAS on the tablets). I love the total embarrassment stanza –
really funny. Lovely tinkly intro.
Like the subtle harmonica, and the mandoliney sound.
Oh a pub singalong song definitely!
L: Totally charming, and manages to steer clear of
self-parody. One of my favorites.
"The Getaway". G: Nice and moody. Good hook. Neil Young on
vocals? What non-Kinks song does this remind me of?
W: Lovely guitar sound to start the next track, lulls one
into a sort of Ah, now I can get all mellow and relaxed state, and then Neil
Young starts singing about lonesome trains. Such a shame.
There are quite a few nice moments in the song, but the mood has been shattered by one
jarring moment. (Maybe I should write this when I have recovered from
having the kids around over Christmas!)
BG: Interesting arrangement, nothing to really offend,
and why shouldn't Ray try to adopt different vocal styles from time to time? I
like it. What does it remind you of g?
D: Not a lot to say right now. Like it a lot. The sound is like nothing else in the
canon. If I heard it on the radio I’m
sure I’d say, Shit – who’s that? And be interested. It builds beautifully too, the return of Ray
the arranger. Wish I could work out what
it reminds me of.
R: Good mood and sound, not sure I liked the
words "Sunny Afternoon" worked into it as it causes me to compare,
drags on a bit.
O: he’s pinched riffs and the backing oohs from “Storyteller” – nothing like plagiarising your
own work (which he’s very good at!). I don’t like the use of “Sunny
Afternoon”….oh come on…there are loads of words that could be used instead of
sunny! That spoils it for me a bit as Rob said, it
starts to make me think of something else.
As above, I am not sure about the “lonesome train” either…couldn’t he
come up with something better? I expected to hear a harmonica to depict the
train and was quite disappointed that it wasn’t there. I regard this an
adult echo of the running away songs on Return to
L: After several listenings, this one has
left the least impression of any song on the album for me. Ray sets a
nice mood, but the melody isn't strong enough to support it for over six
minutes. Kind of kills the album's energy and momentum.
"Other People's Lives" G: Mr
Reporter revisited, with better constructed lyrics. Something of a steal from
Santana's "Smooth" Any ideas who the female vocalist is?
W: Other People's Lives is one of my favourites. Another one of the songs that I can see, and her voice is just
ideal for what she is doing (Bebel Gilberto maybe?)
(sp?). More dubious stressing of syLLAbles, a slightly more subtle Confused N10 element to
it, and nicely understated guitar stuff going on. This one could happily
sit on a loop for a few days without me feeling the need to change it. Somehow
Ray's voice sounds relaxed and happy doing what it's doing as well, without the
edge of him consciously playing a part which sometimes intrudes on other
tracks. Having ranted about other tracks, a bit of a
gush is justified here. I can't really see how this one could be improved upon.
BG: I'm sure this is a very fine effort, just doesn't
do it for me I'm afraid.
D: Tremendous lazy groove and
love the woman’s voice weaving in and out.
Nice use of ‘vom-it-ted’. He doesn’t sound like a victim, does he? The contempt sheathed in silk. It’s never gonna be one of my favourites but
it’s a nicely constructed piece that I’ll not tire of, I suspect.
R: Like the fresh sound, causes me to tap my
foot. Good production and Ray doing what he does best with the lyrics.
O: This is also “Word of Mouth“
revisited! Love it. Hey, really coooool!! I
love the talk bit at the start and listening to his non committal voice! Love
the whangy guitar bit. Agree with the Confused N10 elements. OOH,
the bridge is brill. I like the Latin feel – another song to slither around the
room to. Very gentle feel but the words are sharp and cutting. I remember him
saying once that a friend of his was really hurt by something she had read
about her on the internet, so maybe that inspired this song. Extremely
catchy.
L: Ray revisits, yet again, the same theme he's already covered
adequately in "Give the People What They Want" and
"Entertainment." Very nice musically, and partially redeemed by
some very funny lines (rhyming "read" with "vomited" is
particularly inspired), but loses points for the annoying female backing vocal.
"Stand Up Comic". G: Hmmm this really works much
better as a live performance.
W: Stand up Comic I like enormously. Yes, I know he's
probably being his most self-consciously someone else of all the tracks on this
album, but it works brilliantly. I don't miss the live performance element.
The lyric is just so perfectly fitted into the
tune, as if the whole thing has equal weight and came as one piece rather than
two strands that had to be beaten into order. As I get older I appreciate
relaxed far more than grunting and heaving and sweaty effort! (If Ray has
grunted and heaved privately, that's fine. Just give me the end result)
BG: Live this is one of my favourites, and I think it's a
good attempt to get that live feel on the album. Nicely
constructed tune and lyrics, and social comment to boot. Nice to see the
rationing of f***ing, just once in the first verse
and not repeated. Makes it a much
stronger statement.
D: I’m coming round to this version, nice
band groove. Agree heartily about the
adjectival restraint. Would still love
to have a video of the second (?) time I saw him do this with Pete Matheson – a
riveting tour de force of a performance like Olivier as Archie Rice in the film
of John Osborne’s ‘The entertainer’.
R: Caught me off guard on first listen.
Really like it's playfulness. Would
love to hear it live.
O: I too prefer this live, but agree with BG
that it’s a good attempt to get the live feel on the album. There is a 60s B
movie feel with the sax going on in the back. Such clever lyrics,
and a very true observation of what’s happening to our society here. I think the *rubbish* shout is bit too
clinical, but I suppose if it were rowdier it would spoil the rhythm of the
section.
L: Could have been an embarrassing novelty, but the manic energy of
the track makes it a fascinating experiment. A
tour-de-force vocal performance from Ray. One of the most
interesting records Ray has ever made.
"Over My Head" G: Good one. Love the guitar,
particularly at the start -
there is no way that is Dave Davies :-) Good hooks, one of which
is lifted from "Not Far Away"
W: Over my head reminds me of something, but I don't know what. Could be Ringo Starr 'It don't come easy'. Not a favourite, but pleasant enough.
BG: I really like this one. To me it sounds more like
a Kinks track than anything else on the album (only the musicianship gives it
away :-) Seriously, this could be a mid 80s Kinks number, lifted from Return to
D: Hey, Loony balloon time again. And loads of other
likenesses. And
none the worse for it. Singalong time again.
But nicely developed and great rhythm guitar work. This is a man who has achieved a certain
peace with the world.
R: This flows with me. Brings me back to
late Kinks which I like, may be a pit overproduced.
O: Oh what a beautiful song! The piano just
drives me joyfully insane with its twinkliness, and
it grunty, growly echoes
later in the song. That instrumental break is just out of sight! I think this
one for The Clissold Arms in November! Another survivor song.
Absolutely gob smacking brilliant! Love it, love it, love
it!! Absolutely echoes my sentiments….have a pig of a day and go to bed and
wake up to do battle on the morrow. You can feel the pain he’s writing
about. Love the clangy sound. Absolutely
gorgeous. That piano makes it; it would lose so much if he did this live
without a keyboard.
L: My second favorite on the
album. I can't say I've really analyzed the lyrics of this one too much,
but I love the feel of the track and the melody of the chorus. Also
features a really cool guitar break.
"Thanksgiving Day" G: I quite like it, but it is
not as strong as some. I think I prefer the alternative version. Like the
choir.
W: Thanksgiving Day. G says he will possibly write
something to offset my negativity, so I will just say 'All over her American
face' is probably the only redeeming feature of this blindingly crass attempt
to cash in on American sentimentality. This song is just beyond
patronising.
BG: I'm sorry but I agree this really is very poor. Nothing
to recommend it, American lyrical content, talked parts, boring melody. Should
have been left off the album properly and not even tacked as a bonus track. How
many versions of this EP are there? Putting this out as a single suggests to me
that Ray needs better advice, or is it, as W suggests,
a crass attempt to cash in?
D: I think it’s a good piece of work. The ‘American face’ line is a tremendous
one. It’s a nice piece of writing,
lovingly constructed, the closest he’s ever got, I warrant, to yer actual poetry. Cinematic storytelling, sweet and sour. There’s more than a hint of The Band and even
Dylan in here. I love the choir and the Stax licks – presumably the reason we don’t get the Otis
Redding song on this album. It’s fair
enough homage, I think.
R: Maybe the American in me draws me to this
song but I think Ray has captured the feeling on Thankgiving
and I will certainly be playing it about 5 weeks before Father Christmas every
year.
O: Not one of my faves,
but the “all over her American face” line is just beautiful. I think the lyrics
are rather awkward in places, but as DQ says it is cinematic storytelling.
Maybe it would work better with an accompanying video. I just get the idea that
Papa misses his wife merely because she used to cook the Thanksgiving Dinner!
The Crouch End chorus is cool. The All Over lines are quite compelling and I
sing along to them. I would have preferred a stonker
to end the album. I did hear that this
would be a *hidden* bonus track.
L: I don't really like that this is a "hidden" track at
the end of the album. I think "Over My Head" makes a better
closer. That said, the song itself is first
rate. Can't decide which mix I prefer, but it's a great song and really
whet my appetite for the full album.
A solid 4 star (out of 5) album. I appreciate the
chance to hear it in advance of the official release date. Now
I'll go back at look at everyone else's comments more closely.