ARTHUR BROWN: THE VOICE OF LOVE (2007)
1) Love Is The Spirit; 2)
Gypsies; 3) Kites; 4) I Believe In You; 5) That's How Strong My Love Is; 6) The
Voice Of Love; 7) All The Bells; 8) Shining Bright; 9) Birds Of A Feather; 10)
Devil's Grip; 11) Safe Now &... .
First thing to be noticed about Brown's latest
studio venture is that it is now credited not to the crazy, but to «The Amazing
World Of Arthur Brown». Sure enough, modesty and humility were never an
integral part of this guy's artistic image, but there is still an even bigger
contradiction here, because The Voice Of
Love is, in fact, arguably the most modest and humble album ever released
by the God of H.F.
On here, Arthur returns back to the acoustic
environment of Tantric Lover: he is
accompanied by much-talented, little-known multi-instrumentalist Nick Pynn,
proclaimed by Brown to «play every string instrument on the planet» or
something to that effect — however, the choice of instrumentation is generally
quite simple: about 70% guitars, and the rest divided between violins,
mandolins, harps, whatever... nothing too exotic as far as my ear can tell.
Furthermore, about a half of the songs are recycled from the past — be it very
recent past, such as ʽAll The Bellsʼ and ʽVoice Of Loveʼ from Tantric Lover, much older past, such as
yet another rearrangement of ʽLove Is The Spiritʼ, or pre-deluvial past, such
as ʽDevil's Gripʼ, which was the very first single put out by Crazy World in
1967. In addition, there is a cover of Hal Hackady's ʽKitesʼ, a song first
turned into a hit by Simon Dupree and the Big Sound (the original Shulman
brothers band before the emergence of the most awesome Gentle Giant) also
around 1967. Sweet, sentimental, a bit tangoish compared to the original, and —
nostalgic, of course.
Yes, the whole album is drowned in nostalgia
this time. Most of the tracks, formally, are ballads: Arthur pouring his soul
out to tasteful arrangements of romantic-natured songs, all firmly rooted in
mid-1960s and early-1970s R&B (yet another cover is the old Otis Redding
chestnut ʽThat's How Strong My Love Isʼ, which Arthur approaches here like a
master archaeologist would approach a freshly unearthed relics — almost
literally dusting off and professionally polishing each syllable, with such
great love and respect for the object that the care shown in his singing ends up more lovable than the cover
itself). True enough, there is very little «craziness» here, at least not until
ʽDevil's Gripʼ comes along at the end of the album and shakes us up a little
bit with some of the old maniacal frenzy (yet there is only so much maniacal
frenzy one can conjure with just a couple acoustic guitar tracks and some
screeching violin passages. Say what you will, electricity does matter when it comes to these matters). But still, it would
have been more honest to call themselves «The Shadow World Of Arthur Brown» at
this juncture.
Of the new stuff, meticulously mixed with the
oldies and thoughtfully levelled with them in style, ʽGypsiesʼ is probably the
standout track — make sure you neither confound it with ʽGypsy Escapeʼ off Galactic Zoo Dossier or with ʽGypsyʼ
off Journey; yes, Arthur doth love
the word — if only because it deviates from the general «love is the spirit»
standard and digs into a darker, Mid-Easternish, violin-dominated pattern,
before picking up speed, fury, and frenzy and leading us to a climactic
conclusion (by the way, Arthur's screampower has not decreased in awesomeness
one small bit — at this time in his life, he can probably do better than Ian
Gillan, which just goes to show that you never really know your luck until you
hit sixty).
Generally, though, there are no standouts. For
you and your grandmother, this is a wonderful pretext to simply lower some
barriers and bask in the excellence of Brown's intonations, modulations and
manifestations. This is still theater, replete with exaggerations and
mannerisms, but a very stripped down, life-like, and meaningful sort of theater
— and maybe quite a turn-off for the adventurous fans of Kingdom Come and the Requiem era, or even those who got a
minor kick from the absurdist minor extravagance of Vampire Suite. Personally, I tend to favor Arthur Brown, the evil clown, not the paternalist-sentimental
one — but at this time in his life, he might actually be doing better as the
latter rather than the former. A pleased, if not too excited thumbs up
— and [obligatory old fart addendum] needless
to say, Voice Of Love still shows
more genuine soul than any given starry-eyed indie market record from 2007.
Check "The Voice Of Love" (MP3) on Amazon
The no-genuine soul fallacy?
ReplyDeleteNot that I disagree with you on indie records.
Just couldn't resist.
You highly probably will agree that "resonance" is subjective. I refer to one RA Zimmerman. Arthur Brown never has done anything for me in this department either.
Well, in all fairness, the resonance of the Zimmy has a lot to do with being American. In fact, his resonance is primarily AS a uniquely American artistic product. By extension, the Slim Zim can be enjoyed by all those whose native language is English. However, like all great poets, his work loses something in translation. In this context, translation to a foreign culture is as potentially detrimental as translation into a foreign language. In other words, Zimmy plays great in New York, and takes his chances in Bombay or Murmansk.
DeleteAs for Arthur Brown, if Vincent Crane ain't in, you can count me out.
Malx: I don't think this observation agrees well with "Tempest" hitting No. 2 in Italy and Spain and No. 3 in Finland - not exactly the most English-speaking countries in the world.
DeleteI'd say the absolute majority of successful American artists are all uniquely American artistic product, all the way from Louis Armstrong to Britney Spears.
I'd say you're more or less correct. I wasn't trying to suggest that the Bobster can't be enjoyed outside of his own natural context. At the same time, however, I can definitely see why some non-Americans (especially those of the latest generation)are utterly mystified by his ongoing success. By the standards of today's musical landscape, he seems to "get it all wrong", and it can probably be frustrating to many people who try to fathom why he's topping the charts in a Top 40 that's otherwise full of metal and Eurovision pop.
Delete