Customer Reviews

Sunburst Finish

5 star:		(26)
4 star:		(9)
3 star:		(0)
2 star:		(1)
1 star:		(1)

 

 

Be-Bop Deluxe albums had the statement "lyrics written with intent to enchant" printed on them, and songwriter Bill Nelson delivered on that promise. Primarily known for his astonishing guitar prowess, I think his magical lyrics were sometimes overlooked.

Formed in 1972, the band took a while to release their debut "Axe Victim" (1974). It was good, but a little too derivative of others. They hadn't found their own voice yet. One song was titled "Jet Silver and the Dolls of Venus", which probably gave Bowie a good laugh. The record is chiefly notable for displaying Nelson's other overlooked talent - his rare gift for melody and hooks.

When the first album didn't do that well, Nelson got rid of the band and started all over with new members. In this way and others, Be-Bop Deluxe followed the same career trajectory as Steve Harley and Cockney Rebel. The difference was Rebel had British hit singles and albums, while BBD was an album-oriented act that toured America more often and consequently fared better in the States.

Beginning again with Simon Fox on drums and percussion, and Charles Tumahai on bass and backing vocals - they issued "Futurama" (1975) as a trio. This new unit rocked a lot harder than the earlier band. Nelson's histrionic, Hendrixian lead guitar was in full force. The record contained such classic songs as "Maid In Heaven" and "Sister Seagull", which became concert staples. The group developed a fanbase through constant touring. They added keyboardist Andy Clark for the "Futurama" tour, and would record thereafter as a foursome.

Which brings us to "Sunburst Finish". This is where they found their balance and evolved into a singular band. It had fast songs like the previous album, but also some slower, more thoughtful songs. Stand-out rockers "Fair Exchange" and "Blazing Apostles" were countered by "Like An Old Blues" and "Crystal Gazing". "Life In The Air Age" would lend itself as the title of a later "live" album. "Ships In The Night" was the closest they came to a hit single - it peaked at number 23 on the British charts.

No BBD review would be complete without mentioning the band's proclivity to frequently change tempo. It wasn't unusual for them to do so 2 or 3 times in one song. They could "stop on a dime" to shift the beat, and proved this time and again on record and in concert.

Nelson continued writing his "enchanting" lyrics. When he was a young art-school student, he'd developed a fascination with the surrealist French poet and filmmaker Jean Cocteau. What Cocteau did for the eyes in such film classics as "Beauty and The Beast" (1946), Nelson tried to do for the ears. His lyrics are laden with magical surrealism, often with a "futurist" bent. Fritz Lang's silent movie "Metropolis" (1927) was clearly another influence. Anything old that portended to be "the wave of the future" (like the Hindenburg blimp, or early models of robots) was of interest to Bill, and he would use them on album covers and in songs. Whereas Devo would portray scientific technology as farcical and hastening society's decline, Nelson portrayed it adoringly as society's salvation. He liked sci-fi scenarios, and wrote within that context. He'd paint aural pictures (and later, actual paintings) of a Utopian, almost Aryan nature. He could also be quite romantic at times.

They'd follow-up with "Modern Music" (1976), on which they couldn't resist attempting to do a side-B of "Abbey Road" (you know, short songs that run together in an extended suite). Few artists pull this off, but BBD's was good. Next was "Live! In The Air Age" (1977), a really boring "live" album that faithfully duplicated their studio creations without adding anything new. It was a rare mis-step for such a smart band.

For most fans, "Futurama", "Sunburst Finish", and "Modern Music" are the golden age of Be-Bop Deluxe. The 3 hang together almost as a trilogy. Their final album "Drastic Plastic" (1978) wasn't as well received, and saw them going in a different direction. They incorporated punk and new wave into their music. It was good, but it wasn't classic BBD. They disbanded, and out of it emerged Bill Nelson's Red Noise. Andy Clark was retained for the new group, but the others were gone. This band only released one album, "Sound-On-Sound" (1979) - and it was fast, jittery punk of the kind practiced by early XTC - only harder and faster. As a stand-alone achievement it's very good, but long-time Deluxe fans were in for a shock. Nelson went solo and recorded a few albums of electro-pop. I only bought one of them - "The Love That Whirls" (1982), and it was awful. Gone was his melodic sense, replaced by songs that droned on endlessly. Dreamy titles like "Crystal Escalator In The Palace Of God Department Store" and "Portrait Of Jan With Flowers" were wasted on songs and instrumentals that were unlistenable.

It's my contention that sometimes an artist can be adversely affected by their admiration for another artist. I've always felt Kate Bush would've had a much different career if she hadn't associated early-on with Peter Gabriel. I wouldn't exactly say he "ruined" her, but she certainly became different. In Bill Nelson's case, I'm sorry he ever heard Brian Eno.

Eno's influence was first evident on BBD's "Drastic Plastic". Tracks like "Electrical Language" reflected the pop-era Eno of "Before And After Science". Once Bill locked onto Eno's "ambient" phase, there was no turning back. He became obsessed. For the rest of the 80's and 90's, right up until the present day - Nelson has issued nothing but ambient albums. He cranks them out at a prodigious rate, sometimes 2 or 3 a year - and they are often multiple-disc sets. If you don't know what ambient music is, it favors repetition and minimalism in pursuit of a mood. Usually there's no vocals. Nelson started his own Cocteau label to release this massive output, but ran into financial difficulties and is now on other small labels. Presumably he's enjoyed this music and his many years spent making it, but to my mind it's all been a sad waste of time and talent. I miss the "magic", and hope he someday finds it again.

If you buy "Sunburst Finish", you'll hear it. Same goes for "Modern Music".

Now, when you're a teenager, like I am (15 years old), you are expected to like the music in your generation. FRANKLY, to me, my generation of music completely sucks. No one gives a damn about the music or lyrics anymore!! I love RUSH (all of their music speaks to me, from their beginnings to their new stuff), and I was looking for a band that was full of musicianship and that just plain ROCKED, like them. Boy did I get it with Be Bop Deluxe! These guys were wonderful musicians. My Uncle and my Father introduced me to them in 2003, and ever since I've been listening to all of their songs. LOVE Beauty Secrets!!! Anyone looking for a good band with great musicians, check these guys out. It is a shame they split, but their music lives on...

I don't know what you bought to have this album appear as a recommendation, but it certainly is your lucky day!! Bill Nelson has to be one of the most talented musicians I have ever had the pleasure of listening to. Sunburst Finish and Modern Music are their two definitive albums, but rest assured, if you purchase any Be Bop Deluxe, you will purchase more. Spread the word, shout it from the rooftops, and above all, enjoy the incredible music.

There can be no doubt that Sunburst and Futurama are THE two best BBD albums, and to be honest, I keep fluctuating between them as to which is the best. While Futurama is a total guitar overkill album (in a very positive way) Sunburst is a warmer, more lyrical album, which still contains some of Bill's best axework.

Easily one of the greatest bands of all time, and Bill was one of the most influential guitarists, likewise. You can hear his influence in everybody from Todd Rundgren (RA, and Bat Out Of Hell above all) to current rockers, The Darkness.

If I had to pick a favorite track off Sunburst, it would probably be Crying To The Sky, which contains some of his most beautifully crafted solo work. The solos on tracks such as Heavenly Homes are also right up there with the very best from this man's arsenal, too.

If you have this album, I strongly urge you to track down a copy of Futurama, which is technically not available on CD and hasn't been for some time. I actually obtained a copy from an outfit that shipped from Russia, and the album, which also contains additional tracks, as does Sunburst, is absolutely stunning.

Bill was one of the most exciting, refreshing and original guitarists I have ever seen (many times - I am from the same part of Northern England as Bill) and I can only hope that as many people as possible will also discover his genius.

A breathtaking album from a genuine Guitar God.

20+ years later I still find this music astonishing. Nelson and co. stood not in shadows but clearly in the light during this period of the bands history. The predictions of Lang and the beauty of Cocteau figured prominently in Be-Bop Deluxe's music and vision. Don't think you can go home again? Listen to this disk.

This is brilliant and unique music. Bill Nelson, when at his peak, created some truly exceptional work. Futurama, Sunburst Finish, Live in the Air Age and Modern Music are among Britain's finest in the early to mid-seventies. Nelson drew from the influences of Mott the Hoople, David Bowie and T.Rex while keeping one foot in the progressive-rock camp. His guitar playing is extraordinary. He possesses a unique and creative sense of melody on the instrument, while capable of playing with great power and passion. His first disc, Axe Victim, is a wee bit too much on the glam side of things. Fortunately, he outgrew that phase by the second disc, Futurama. Their swan song Drastic Plastic was a mixed bag. At times, of the standard of his better songs, while having a few numbers that tried on new wave but didn't quite work. Sunburst Finish is the best of the bunch. Highly recommended...Simon

Be Bop's finest album mixes dreamy ballad with progrssive rock. From the opening Fair Exchange through Sleep that Burns to Blazing Apostles, its a non stop adventure into the music that was classic Bill Nelson, a master of the axe lick. Sunburst Finish was my first Be Bop investment back in the late seventies and served as a stepping stone to all the Be Bop albums and to what I beleive his finest work as Bills Nelson's Red Noise "Sound on Sound" album. Truly an album years before its time and sadly (to date)still not available on CD ( unless anyone knows different). Anyone who appreciates quality song writing and precision guitar work should give Be Bop a spin - They are all classics

Bill Nelson is perhaps the most unknown of the most fluid, superbly gifted guitarists to ever have lived. I've seen all of the greats live: Chet Atkins, Al Di Meola, Neil Schon, Eddie Van Halen, Carlos Santana, Steve Vai, Eric Johnson...you name 'em...and Bill Nelson was the most amazing on electric guitar I've ever seen or heard! Eric Johnson or Al Di Meola would battle for #2.

This is a quality album and along with Modern Music probably in my top fifty favourite albums of all time (i've been around a few years and got quite a large collection!). I saw them live in 1977 and have treasured all their work ever since. I find their work hard to categorize and it still stands up with the best of today. Songs are intricate yet melodic with lyrics both bizarre and astonishing. "Crying to the Sky" has a beautiful guitar solo and "Ships in the Night" I just can't get out of my head. Many commend Bill Nelson as a creative genius. How he fronts this band singing vocals and playing the guitar so amazingly well is hard to comprehend. The "Drastic Plastic" album marked the beginning of the end for me. Bill Nelson was a great rock guitar player, pity he split Be-Bop up after Plastic to explore his musicality. I don't care too much for any of his later solo work.

Sunburst Finish is to Bill Nelson, what A New World Record is to Jeff Lynne. Certainly, stylistically different, but artistically both records demonstrate a quantum leap in song writing ability. Sunburst is Billy Bob Nelson's breakthrough as a legitimate songwriter!
All of the songs exude a mystery typical of his earlier compositions, but their is a focus here that had been missing.
You can sense that Bill was aware of this, and his confidence
resonates through his guitar playing. Sleep that burns and Blazing Apostles with their multi-section arrangements are the purest examples of Nelson's maturity.
It's still a remarkable record.