Is THIS odd photograph more of that Mick Jones influence too..?
This is something you NEVER read in 2004.
(an “early draft” of the now infamous 2004 “official” Quite Great Press Release…Pete loves his “early drafts”..)
You will recognize certain parts which made it to the “official” P.R release.
The “Mick Jones” and “fellow nyc’ers Big Audio Dynamite” (yep seriously!) references did not..
racine – number one (2004)
the return of wendy james is of course a news worthy issue. the fact that she is returning with an album that most people will never want to admit is as good as it is all makes for the return even more fascinating.
rather than going over the woman’s illustrious past lets jump right into this sparkling new album.
rather than go into some big fancy studio with major label backing and a host of well known producers, which, with current demand for returning 80’s pop stars, you can just see would be a massively easy money option – wendy has chosen a far more interesting route back into the pop worlds collective conscious.
having relocated recently to nyc she formed new bonds with her drum machine and decided to learn every other instrument available to her to create the noises here, including guitar/bass/piano – no computers outside of the beats were used. making everything here all self made and self released as she then decided to form her own label (pia-k recordings), thus avoiding all the usual shark infested waters and maintaining the essential control factor.
for all the discussion and revelations in recent interviews that dr dre and eminem are the creators of the best new sounds the album sounds very traditionally old school indie with a splash of drum machine and subtle synthesizer noises. in fact, after several spins the albums 2 sonic reference points are fellow nyc’ers Joy Zipper and Big Audio Dynamite. there are the sunny uplifting indie guitar sweetness that joy zipper have excelled at in recent times matched against the odd flurry of beatbox programs and laidback guitar lines (hence the Big Audio Dynamite connection).
ok, the album doesn’t jump out and grab you, instead its a subtle beast that creeps up on you in such a warm and pleasant manner that when you realise just how much you have enjoyed the last 40+ minutes you press the start button again just to make sure..
starting off with the uptempo ‘the man’ (with gloriously catchy ‘its so easy’ vocal loop) its obvious that wendy has really learnt how to use her vocal skills, using doubled up vocals she sounds vibrant and completely on form. ‘grease monkey’ is next and is to be the albums first single release. with its throbbing bass synth line this comes over as a fine electro-rock groover, which if given a proper remix job by people who love the original could slay the dancefloor monsters. a great track. sensuous pounding beats and breathless lyrics make this addictive. breaking the style a little with the old broken piano led ‘princess patience blues’ is a lovely little tune that compensates for the slightly annoying screechy vocal loop that permeates through the next track ‘hip hop 156′ that aint hip hop at all, but actually sounds like an old transvision vamp b-side.
the track that really surprised me the most though, has to be ‘w.13th’, with its laid back blue beat ska type bass line and harmonica line like some long lost one dove out take. very brave and kinda cool – it works, just. as do several other tracks throughout, whether it’s the britpop throwaway fun of ‘blond mink mimi’ recalling the days when another woman lead guitar group louise wener’s sleeper were ruling the headlines. somehow creating a weird level of nostalgia for such innocent days. unfortunately though for some, ‘heavy metal dude’ is not a full on industrial ministry-style rock anthem, but more of the slight beats, tight rhythm guitars, punchy pianos and a quality ending involving all sorts of ‘ba-ba-babababa’, beat breakdown and dubbed up guitars –
more of that mick jones influence ?
as expected, moods are mellowed towards the albums end with the orchestrations of ‘cakewalk’ and the downbeat but determined ‘life goes on’ (‘i’ve stood my ground where so many fall’), giving slight insights into wendys obvious intentions.
the level of variety in the instrumentation and production may be a negative for some, but, it does mean that the album has a consistent sound throughout with very little in the way of modern pop music concessions. so, it’s a good job that the songs are as bubbly, sharply focused and melodically strong as they are. for the second album wendy will recruit a whole bunch of nyc musicians to create her sounds live, so i expect that the small, rounded, warm, lo-fi sound that she has created here will be expanded upon – if it works and she still manages to maintain the level of control over the results, as she has done here, remains to be seen, as this album is an obvious indicator of the womans pop music talents. something i suspect will be hard to admit for many ..
a fine proper pop album by a proper pop star.
Wink
See ya
D-R-Y-B-A-B-Y
DryBaby’s Communique…
