GRANT-LEE PHILLIPS
Nineteeneighties
Zoe Records/Rounder
· If you spent the 1980s sitting in art class being depressed, this CD is for you.
When an artist puts out an album of cover songs it usually means one of two things – he or she has completely run out of ideas or – cash grab!
In a few cases, however, the covers in question are given a new freshness thanks to imaginative reworkings. Grant-Lee Phillips’ fourth release, Nineteeneighties falls short of offering any definitive versions of songs, but it is a pleasant and satisfying listen nonetheless. For someone who grew up in the 1980s not listening to Tiffany, Guns ‘n’ Roses or Maestro Fresh Wes, Phillips’ choice of songs brings a nostalgic tear to the eye.
The former Grant Lee Buffalo front man covers the cream of the alternative ’80s crop – The Pixies, Nick Cave, Echo & the Bunnymen, The Cure and The Smiths, to name a few. The only real con about this album is the impression upon first listen that Phillips is simplifying the music to fit his acoustically inclined singer-songwriter structure.
Delve into it a few more times and you will find depth and creativity in his adaptations and instrumentation (Phillips plays everything from baritone ukulele to mandolin and toy piano). Unfortunately, the CD gets off on the wrong foot with an amusing but ill-advised Hawaiian-vibe version of The Pixies’ "Wave of Mutilation." It does, however, rebound quickly with a beautiful, stripped-down reworking of New Order’s "Age of Consent."
Phillips’ haunting, plaintive vocals are wonderfully showcased on the heartbreaking revision of "Last Night I Dreamt That Somebody Loved Me," originally recorded by The Smiths. The Church’s "Under the Milky Way" retains its title of Best Song Ever (IMHO) thanks to Phillips’ poignant – albeit note-for-note copy of the original.
Less successfully interpreted is The Cure’s "Boys Don’t Cry," which loses much of its spark due to plodding timing.
Between the highs and the lows there are songs such as R.E.M.’s "So. Central Rain (I’m Sorry)" and Echo & the Bunnymen’s "The Killing Moon," which – while not improving on the original – do not disappoint.
There is nothing forced or cheesy about Nineteeneighties and the listener gets the sense Phillips has great affection for these songs and admiration for those who wrote them. Nineteeneighties might not hook you right away, but give it a chance and you’ll be wearing black nail polish again in no time.
|
Copyright ©2006 FFWD. All rights reserved.