Most Helpful Customer Reviews
|
|
9 of 9 people found the following review helpful:
5.0 out of 5 stars
Pure hetero-genius!, July 21, 2005
There are three albums from the Eighties that I listen to most often in 2005: Prince's masterful 'Parade', Warren Zevon's epiphanous 'Sentimental Hygiene' and this one, the absolute finest work of Green Gartside and Scritti Politti. True to its title, 'Songs To Remember' has that certain something that belongs to eternity.
As a songwriter, it could be argued Green is both modern and postmodern. His borrowings, repetitions and deft deployment of soul/rock cliches are far more sophisticated than the likes of New Order or Depeche Mode who enjoyed greater recognition for less interesting, more genre-specific work. Scritti Politti were later to enjoy 15 minutes of fame for their brief, though expert, dalliance with new wave dance music: the two singles from 'Cupid and Psyche '85', being 'Woodbeez' and 'Absolute', were both hits, despite the fact that the lyrics of the former included the word 'intravenous', while the lyrics of the latter included the word 'paramour'. Scritti Politti weren't particularly interested in sounding fashionable; Green simply liked black music and he wore his heart on his sleeve to this end. What's more, he vocalised his heart with eloquence and uncompromising intelligence. The downside is: the song titles do sound a little academic, but, trust me, 'Songs' is an emotional record.
A mere five seconds into the album and you'd swear you were listening to Stevie Wonder. 'Asylums In Jerasulem' bounces along gleefully as if it were 'Boogie On Reggae Woman'. Green's unmistakable voice is, perhaps, the most Eighties quality about the music, since it is totally androgynous: it also retains some of Scritti's punk roots by sounding like "sick bubblegum", which is how The Ramones once described themselves. The lyrics set many precedences: there will be intertextuality, layers of ambiguity, smart exploitation of semiotics and leftist social commentary.
'A Slow Soul' could have been written for Aretha Franklin. It wasn't. It was written by a poet who once lived in a squat, in Camden, UK. The words, "You stuck in North London" always put a lump in my throat.
Then comes the best track: 'Jacques Derrida'. Musically, it has a live, improvisational feel from the start; of course, it ends with some delightfully anarchistic noise-making. The title refers to one of the forefathers of structuralism and semiotics but, for those of you not schooled in the theory that inspires the track, it is best understood as a statement that the author, or the authentic voice of protest, is not dead yet. Green chants, "I want to eat your nation state" and it is as powerful as any of Joe Strummer's most brutal warbles against the ideological superstructure.
"Lions After Slumber" is both a precursor to smooth UK hip-hop (The Streets, for example) and trip-hop (Tricky, Massive Attack). Again, the lyrics are thoughtful and soulful.
'Faithless' is a fantastic ballad with a swirling chorus of backing vocals that could easily be compared to early Funkadelic. Can much more be said of Green's greatness than simply quoting the lyric 'I'm a hetero-genius / I want to testify!'
'Sex' is the only track that might have dated a little. It sounded more revolutionary when the album was first released but its language remains unique and, excuse the pun, penetrative.
'Rock-A-Boy-Blue' is the anti-dead-author anthem. It renounces all contemporary notions of manufactured art that is supposedly more generous to the audience because we asked for it somehow. Yeah right! Like a rape victim asked to be raped. "Don't they want make the money? / Don't they want to be the Beatles?" Green cleverly repeats phrases like "Learn to love that one-note sound / Make me sick with repetition" just to drive the point home.
On "Gettin, Havin' and Holdin'", Green steals and reinvents the classic soul phrase "When a man loves a woman" to construct a song that may well really be about loss. I can't help but think of how The White Stripes dedicated their recent album 'Elephant' to "the sweetheart" or her death. This is a beautiful, bittersweet song about loss of intimacy and romance.
The album ends on an equally high note with 'The Sweetest Girl', continuing the same theme. The song may have been influenced by another punk hero, Ian Dury, in that even its bitterest, most scathing moments are imbued with child-like wonder.
Sadly, I've probably made this album sound far too intelligent to be something you sing along to in the car. For that, I'm sorry, because 'Songs To Remember' has lots "baby baby's" and "woo woo's" and "yeah yeah's", after all. And it is full of love. How else do you define genius?
|
|
|
9 of 9 people found the following review helpful:
5.0 out of 5 stars
a future yet visited, December 14, 2001
what makes an album timeless? what encourages us to laud certain albums yet consign others to the dustbin of history? the reason i ask is because here's an album that deserves to have thesis's written on it yet is more likely to become a minute footnote in pop's history.
think about it, how many albums can you name that fuse tinny electro pop, reggae sub-bass, sweet soul vocals, jive style double bass solo's and dissertations on semiotic deconstructionalist jacques derrida?
most of us know scritti polliti from their mid eighties album 'cupid & psyche' (which in itself was a victory of literary, intelligant pop), but for those of us in the know - this album was the one... o.k, so as some may point out this 'blue-eyed soul' was perhaps in some ways responsible for the AWFUL bastardisation of Al green, marvin et al by the likes of wet wet wet and hue & cry - but for those who were listening it also pointed a way for popular music to run with the ashes of the politicalised punk movement of the 70's to a place where postmodernism and pop could do each other a great service. where futurism seems the most natural thing in the world. unfortunately, post live aid - rock and pop united in the idea of 'real music' which culminated in the lazy, pompous flag waving of U2 - a curse which has shackled mainstream music ever since. do yourself a favour - if you like music to be challenging, timeless and intelligant.....buy this album.
|
|
|
5 of 5 people found the following review helpful:
5.0 out of 5 stars
Hip Hop Hippity Hop Now Hurry and Buy This!, January 30, 2006
Is this anything like Cupid and Psyche and all that followed? Nope. Is this music like anything else in my collection (80's and electronica)? Nope. Is it one of the most mind blowing and fresh albums I have ever heard? Yes! Yes! Yes! Listen to this recording and you body will start to move in strange and exciting ways. Standout tracks include Lions After Slumber, Sex and the Sweetest Girl (which was later covered by Madness in the late 80's). Feel like listening to something totally different? Give this a go - it will not disappoint.
|
|
|
Most Recent Customer Reviews
|
~ Scritti Politti
~ Scritti Politti
~ Gang of Four
~ Scritti Politti
~ Scritti Politti
by Scritti Politti 
