Customer Reviews

Joy of More Hogwash

5 star:		(2)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Well, another miserable year on this dismal rock has come and gone and everyone's favorite wart on the ass of progress (and I mean that in the most complimentary fashion imaginable), Martin Gordon, is back with another impossibly great masterpiece of pathos, social commentary, and hard, polished pop. Getting monotonous, innit?

Following less than a scant twelve months after the release of 2003's cocksure "The Baboon In The Basement," "The Joy Of More Hogwash" is another glimpse into the psyche of a man standing back and observing this world's downward spiral while taking care not to get sucked into the vortex.

Album opener "Oh No What Shall We Do (Daddy Lost His Head In A Coup)" is flush with the rousing sound of a killer, sweeping chorus that only something like the Nigerian internet banking swindle can inspire. And despite an opening verse of "You can touch me everywhere/Run your fingers through my hair/Rummage through my underwear/See what you find," songs with the lushly arranged, upside-down Roxy Music stylings of "Fuss Me" were never meant to answer the questions of the universe.

Ditto "Her Daddy Was A Dalek, Her Mummy Was A Non-Stick Frying Pan," a Bonzo Dog-esque titled tale of inter-planet love with an ascending chorus and filled with anthemic euphoria. "Plug 'n' Play," powered by the choppy guitar of Andy Reimer and a Pelle Almgren lyrical delivery that positively reeks of sneer, is a knuckle-cracker that would probably send Cheap Trick's Rick Nielsen and Robin Zander scurrying for the corners of a blank white room. Which may explain why that band's management was aghast when a review of "Baboon" called it "the best Cheap Trick CD since the 80s." Touchy...

The final "Baboon" holdover, drummer Chris Townson, holds things together with an impeccable sense of timekeeping honed by years staring at the backs of Jimi Hendrix and various members of Jet, John's Children, and The Who.

The band's hypnotically shimmering take on "Love Power" from Mel Brooks' cult wonder "The Producers" was recorded in the same Berlin studio from which Josef Goebbels spoke to the masses about peace, love, and understanding. And on analogue 2-inch tape no less!

"Hogwash's" finale, "Stop The World" ("...I want to get off/That's it for me I've had enough") may be the closest thing Gordon comes to a grand statement; Almgren's harmonies a thing of beauty, Townson providing the machine-like propulsion, Reimer firing on all fours, and the man himself ranting and crying for mercy from a world packed to bursting with "boy bands, white hip-hoppers, lifestyles of the rich and braindead," and "hysterics in Hollywood who wouldn't know culture from the rear end of a dead dodo." A man after my own heart who, if you didn't know better, you'd swear was living in America instead of Berlin.

Like he did with "Baboon," Gordon once again handles the production and arrangement chores and somehow manages to satisfy those who prefer their pop music full of slick surfaces as well as those who enjoy a bit of crunchy, sonic roughage in their diet. I think I sense a crack in the facade, though. He actually shares songwriting credits on "Fuss Me" with Almgren and Pelle Andersson.

If the nimble, fuzz-stomp arrangements and writing Gordon is quickly building a reputation on could be correctly harnessed, they could light our cities. In a more perfect world, radio would be awash with the parade of tight, smart gems he has crafted for "The Joy Of More Hogwash" instead of echoing with the sound of bling bling-obsessed vegans, converts to Khaballah, and talentless teens spinning their wheels in the never-ending race for the brass ring . His wry observations on culture (pop and otherwise) are delivered with tongue firmly planted in cheek and his knack for sardonic, paper-cut sharp lyrics, adrenalized pop hooks, and grinning, gibbering genius is as dependable as the tides.

After waiting for ages for this CD, when it finally came I have to say it hasn't left my player for a week... an amazing piece of work, and even better than last year's Baboon in the Basement. Intelligent pop music - loud, noisy, funny, silly, thoughtful - plus he's not bad looking, as well. Great guitars, and someone who sounds like Robin Zander singing - if you like powerful pop, this it IT!