Category Archives: digital download

Wreckless Eric • Construction Time & Demolition [CD, LP, DD]

“All your records are shit, except maybe one…” So goes one of the lines in a song on the new album from WRECKLESS ERIC, Construction Time & Demolition. If you were around in the late ’70s you might remember a few of Eric’s releases on Stiff Records, home then to names like Elvis Costello, The Damned and Nick Lowe. Or maybe you’ve heard the cover of his biggie “Whole Wide World” (by Cage The Elephant). Eric was an oddball – he sang in a low register squeak that sounded like some weird guy’s speaking voice – and appears to have stayed one. But not all of his records are shit…

His new album is a beautifully ragged semi-lo-fi collection of remembrances of things like his childhood in Hull, England, and how the (whole wide) world seems to have been continually constructing and demolishing itself ever since. The opener, “Gateway to Europe,” tells of his hometown becoming that when a bridge was built that spanned the Humber Estuary and Britain became part of the European Common Market. (Look it up, I’m not a history teacher.) The arrangement of this song, as well as the rest of the eleven songs that make up Construction Time & Demolition, is one that sounds like it’s building up, getting denser and denser, while simultaneously kind of falling apart. Jagged guitars, weird organs and fuzz bass are at home among drums, percussion, and a “horn section” led by a brilliant trumpet blowing whenever some musical bit needs underlining. As Eric himself says, “I wanted the music to sound as though it was demolishing itself as it went along, and at times I wanted to actually hear it destroy itself, fuzz in and out until all that was left was the flat tone of a heart that’s stopped beating.” Well, now. That’s a grand concept and I think Wreckless Eric has achieved it. His lyrics remain wearily wistful in a jaded sort of been-there-done-that way, making canny observations about how getting older isn’t always easy (“life is all the same old lessons / until you learn ’em / And I’ve got so many lessons left to learn, I wish I could burn it all! / I’m coming unraveled here!”).

So how did Wreckless Eric fall off my radar? I mean, I loved his new wave records back then (see the clip below with his magnificent “Whole Wide World”), but he’s kind of come and gone over the last forty years. (I actually got to see him perform in NYC in the early ’90s during a New Music Seminar – met Cheetah Chrome from the Dead Boys at a bar down the street before the show and bought him a beer. Cheetah, not Eric. On my company’s dime.) Wreckless Eric’s had a few albums out in the last decade or so but I guess I just missed them. Meanwhile, he’s now stationed here in the States and has a pretty good thing going with this new record. You can catch him on tour if you live on the East Coast or in Britain. I hope he’s got a full band with him, and one that can deliver the goods and bads that make up Construction Time & Demolition. Meanwhile I’ll be looking into some of the records of his that I missed over the years. My bad.

4/5 (Southern Domestic)

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Spencer Brown & Bruce Thomas • Back to the Start [CD, DD]

Bassist BRUCE THOMAS is best known as the 4-stringer in The Attractions, the band that backed Elvis Costello on his earliest (and best) recordings. His unique bass playing has also graced records by Suzanne Vega, Peter Case, Duncan Dhu and John Wesley Harding. SPENCER BROWN is a bit harder to background. Apparently, he is “a songwriter friend” of Thomas’s, and the two decided to collaborate on Back to the Start once Thomas heard the demos of the songs that eventually were completed for the album.

Made up primarily of pleasant, pseudo psychedelic pop tunes, the album – available via Amazon as a digital download or made to order CD – Back to the Start’s arrangements include backwards guitar, descending/ascending chord progressions, harpsichord and other hallmarks of mid/late ’60s pop. Brown’s tunes remind me of those of The Rutles (that fictitious British band that might have been big had The Beatles allowed them to take over). Yet they’re not exactly parodies or send-ups because they don’t seem to completely ape the core facets of their foundational genre. Clearly, Brown is accomplished enough as a multi-instrumentalist (I’m pretty sure he plays everything here except bass) to be able to add his own stylistic flourishes and lift the tunes out of that likely morass; there is no denying, however, that the Sixties is his decade of choice when it comes to music. Lyrically, the songs are of the usual subject matter, though there are numerous turns-of-phrase that keep things from going too moon/June/spoon.

But back to the start of this review: Bruce Thomas plays the bass here, and as you’d expect, his fundamental style is well-suited for the project. His florid bass lines add a McCartneyesque vibe to the tunes, which almost sounds like lazy journalism except that it’s true. On the other hand, there’s no mistaking that this bass player is the same guy who propelled Elvis Costello’s late ’70s/early ’80s output with gutsy, over-the-top or under-the-radar bottom, depending on what the tune called for. I always suspected Thomas had more of a respect for Macca’s playing than he ever let on, and hearing Bruce in this context shows it to be true. And that’s not even considering the cover of “There’s a Place,” which closes out the album. It makes sense that Brown and Thomas would throw a Beatles tune into the mix, though it comes from a previous era than the one the rest of the album is concerned with, and thus ends the affair on a questionable note. (Or were they going, uh, back to the start?)

I’d say Back to the Start is worth a shot if either of these are true of you: a) You enjoy psychedelically-inspired music, and/or b) You’re a big fan of Bruce Thomas. I can answer affirmatively to both, and I’m glad to hear my second most favorite bass player back in the groove. Who knows? Maybe Spencer Brown and Bruce Thomas will get together for another go-round, go more grandiose and give us something really, truly fab.

2.75/5 (no label; available to order via Amazon)

 

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