THE CARDIGANS: EMMERDALE (1994)
1) Sick & Tired; 2) Black
Letter Day; 3) In The Afternoon; 4) Over The Water; 5) After All...; 6) Cloudy
Sky; 7) Our Space; 8) Rise & Shine; 9) Celia Inside; 10) Sabbath Bloody
Sabbath; 11) Seems Hard; 12) Last Song.
It is a little hard to believe that a band
naming itself after such an essentially British piece of clothing, and naming
their first album after such an essentially British piece of soap opera, would
be so utterly Swedish — but yes, at the core of The Cardigans are Swedish
musicians Magnus Svenigsson and Peter Svensson, who not only play,
respectively, the bass and the guitars, but also compose most of the songs, and
then, in good ABBA tradition, hand them over to Swedish singer Nina Persson for
the vocal treatment. Completing the lineup are Lars-Olof Johansson on guitar
and piano, and Bengt Lagerberg on percussion — both of them good Swedes, too.
The oddest thing about The Cardigans is that,
by all accounts, Svenigsson and Svensson originally came from a heavy metal
pedigree — not surprising for Scandinavia, and indirectly still reflected in
the band's inclusion of ʽSabbath Bloody Sabbathʼ on their debut album. However,
it is unlikely that the average metal fan will be much pleased to hear what
they ultimately did to the song (and, in fact, it is quite a hoot to browse
through all the irate, blood-thirsty YouTube comments on the tune). You know
something's not quite right when the instrument selected to introduce the
melody of one of Iommi's crunchiest songs ever is... a vibraphone — and then, in a matter of seconds, the song takes
shape as a «twee-lounge» ditty, with soft jangly guitars, jazzy percussion, a
guitar solo that's more Donovan than heavy metal, and, most essential of all,
vocals that are more Astrud Gilberto than Ozzy. Indeed, it is hard to imagine
how one could possibly do a better job remaking ʽSabbath Bloody Sabbathʼ as
ʽThe Girl From Ipanemaʼ.
Of course, all that metalhead anger could be
easily tempered if people would just stop to remember that behind all the
heaviness, Black Sabbath were very much of a pop band — and there is no better reminder of this than the way The
Cardigans launch into the "nobody would ever let you know..." bridge
section, which was always extremely poppy from the beginning. (To somewhat
redeem the Sabsters, Svensson and Svennigsson omit the heaviest part of the
tune in the mid-section, possibly because its mountain-crumbling riff was too
hard to transpose to vibraphone.) The remake is glorious in its own right,
taking our mind off the crude heaviness of the song and reminding us of its
melodic, and even psychological, complexity — and in this stylistics, it sounds
like Nina is offering a gentle consolation for the poor deluded addressee of
the song, rather than lambasting him with heavy scorn, the way Ozzy and Tony
do.
Besides, the remake totally fits into the
overall style of the entire record; people unfamiliar with Sabbath would never
even begin to guess that Emmerdale
took a «weird turn» by the time of its tenth track. It's all stylized like that
— a musical candy-house, one part baroque, one part pastoral, one part Sesame
Street, one part midnight jazz, with Svensson's and Svennigsson's first-rate
melodies as the base and Nina's «melancholic kitten» delivery as the coating.
Yes, that voice can come across as too irritatingly oversexed, but it shouldn't
be much of a problem for anyone who likes vocal jazz (or twee pop, for that
matter) on the whole, and it fits the music to a tee. Besides, it's not as if
we were dealing with «vocal sexploitation» here — if there's any general
associations that these songs truly evoke, it would be the colorful sunshine
supermanry of Donovan, with a bit of Wizard of Oz thrown in.
Emotionality here runs the gamut from mild
depression and disillusionment (ʽSick & Tiredʼ, led by a folk-poppy flute
part and tremendously «toe-tappish» despite the overall gray mood) to upbeat
optimism — ʽRise & Shineʼ is one of the best twee-pop songs ever written,
riding an awesome wave of internalized joy before it bursts out in a genius
chorus (that "rise and shine... rise and shine, my sister" bit sounds
awfully familiar, probably because it is so simple, but I can't quite put my
finger on any exact possible source). Curiously, ʽRise & Shineʼ was
actually an early song, written and released as early as 1992 (its success secured
Nina's status with the band, since it was Svensson himself who used to handle
lead vocals before that); ʽBlack Letter Dayʼ and ʽSick & Tiredʼ would
follow later as additional singles from the album, but on Emmerdale, the sequencing is reversed, and the record begins with
«darker» songs before moving on to the more positive ones, gradually brightening
your day.
Come to think of it, there is not a single bad
song on the album; every track has
something to offer in the way of a great vocal hook, a moody twist, or an
attractive instrumental riff. The style and instrumentation may be cohesive and
perhaps even monotonous at times, but this is well compensated for by the
inventiveness of the writers and arrangers. The gently waltzing ʽBlack Letter
Dayʼ, other than the vocal seductiveness (could the lines "I drank all
that I could, more than I should" ever sound more sweet and innocent?),
has a brilliant jazzy bassline whose melodicity may well remind you of
McCartney's use of the bass as a magic pop wand on Sgt. Pepper. ʽIn The Afternoonʼ is a really great song about winter
boredom that manages to poeticize said boredom like nothing else (this is,
like, Cinderella's song on a chore-free day).
Even the few songs where they completely
dispense with the rhythmic base are excellent: ʽAfter All...ʼ is
straightforward lounge jazz, with jazz piano chords, a jazz guitar solo, and a
dreamy, lullaby-like vocal melody, and it's as lovely as any vocal jazz can be (not
to mention the weird ambiguity of the words, which can jump from love-struck
giddiness to love-scared fright and confusion within the same verse). ʽLast
Songʼ concludes the record in stern, somber chamber-pop mode, with a string
quartet backing Nina as she sings about the death of a friend — a little too stiff,
perhaps, but without any traces of corniness. It is actually a perfect final
flourish for a record that, at first, may sound fluffy, but in the end,
demands to be taken seriously; and it wouldn't be, for that matter, until
Arcade Fire's Funeral that we'd have
another finale like this (not that it's anything but sheer coincidence, but I
thought that a mention of Funeral in
a Cardigans review could help drive their stock prices a bit, along with that
of Paul McCartney).
Anyway, the style
of the album may be doing it a disservice among the hip crowds who like their
stuff harsher, harder, and less retro-oriented, but the music is uniformly
excellent, and although the band went on making albums that acquired far more
popularity (Emmerdale was, in fact,
not even released internationally until several years lately), to my mind, they
never made a more consistent or complete package than this one. Thumbs up
without question. Also note that newer releases throw on an extra four tracks
that, although excellent in their own rights, were actually taken from the
original release of Life, their
second LP, because its original international release replaced them with five
tracks from Emmerdale (yes,
confusing story worthy of the discographic horrors with UK bands in the
mid-Sixties, but there you go — in 1994, conceptuality and integrity in some
parts of the world continued to be spat on just as they were in 1964. Music
business as usual again).
And ..... you got me again. You made me listen to a band I otherwise would have totally ignored. Because of course I want to know what these Swedes did to a favourite song of mine! Sure enough I LOLLed behind my computer. If only for this cover the band deserves a thumbs up. Btw - that means that they did an excellent job. Love the solo too. And the coda has an excellent groove.
ReplyDeleteI take it you are unfamiliar with Sabbath in the Suburbs, then? Came a bit later, but a hilarious reworking of Sabbath into lounge. Also Hellsongs (Swedish again!) have made a career of reworking metal hits into loungey sweetness (Run for the Hills? Awesome!!!)
ReplyDeleteYou should check out Nina Persson's first solo album after you finish reviewing the Cardigans, released under the band name A Camp. It's well-produced and well-written, and has a variety of country, pop, and rock styles.
ReplyDelete