lambchops's Full Review: Tiger Bay by Saint Etienne
Saint Etienne created distinctive, dance-oriented music from their earliest experiments. Bob Stanley and Pete Wiggs (former music journalists) initially began creating in England during 1988 and were from the very beginning an attempting to do something imaginative with existing genres ranging from indie pop and dance to Britpop.
It took until 1990 for Saint Etienne to get around to releasing any material (a single), but it was the addition of Cracknell’s vocals that helped the band’s work to pick up pace. Her voice was first heard with the band in 1991, first in the form of a single and then subsequently with the band’s full-length debut Fox Base Alpha. Though it was with the 1993 sophomore release, So Tough, that the trio really began to get attention.
So Tough was awarded with good reviews and a string of hit singles including You’re in a Bad Way and Hobart Paving. As a result of the success of the album and resulting singles, the trio gained enough support to release a third album featuring Cracknell. Tiger Bay appeared to mixed reviews in 1994.
And so, Tiger Bay—despite a few hit singles—was the final album to feature the vocalist and Saint Etienne would from 1996 forward rely on the synths and sampling from Wiggs and the keyboards from Stanley. Despite the mixed reviews, Tiger Bay is better than most contemporary and experimental independent/dance/pop. And with songs like I Was Born on Christmas Day and two versions each of Like A Motorway and Hug My Soul populating the album it’s a decent piece.
Sadly, Saint Etienne made a mistake by including a completely instrumental track in the first position. Urban Clearway is much too long, much too boring, and much too repetitive to be in such a place. Useless and annoying, it’s one of the most difficult tracks on the album.
Fortunately, Hug My Soul allows the listener to forget totally about the sorry first song. Without question, it’s an ode to discotheques. Cracknell’s vocals are smooth and sensual while the drum machine thumps with enthusiasm. But the real joy of the track comes from the keyboard. It’s not meant to sound like a piano or any other instrument. Rather, it’s mechanical and whistling and ringing…something quite dissimilar to even most dance music.
Former Lover is delicate and emotional and fascinating. The sound of a light acoustic guitar and harmonica are backed by a continuous and understated variety of synthesizers. Cracknell’s vocals are luscious. But there is a problem…the track while nice to listen to doesn’t seem to go anywhere or have much of a purpose. Though, it’s easy to see why Former Lover would be of interest to individuals not accustomed to the more dance oriented songs.
Like a Motorway is conversely a great track. Strange, stylish, and upbeat dance beats are wonderfully prevalent throughout but without Cracknell’s voice it would probably lack motivation. Ironically enough, Like a Motorway is the epitome of “perfect driving song.” It’s not in the least bit angry, but instead sends a jolt of energy and sheer happiness through the listener. The lyrics however are less than stellar; then again listeners don’t expect or even hope for poetry from dance music.
While there’s nothing wrong with the middle portion of Tiger Bay specifically, it isn’t the best work on the album. On the Shore is rather unemotional and dry and repetitive while Marble Lions is a little too “Madonna” for my taste. Cracknell, despite her lovely voice, refuses to use it all too often. Marble Lions has a delicate and entertaining melody, but the vocals are for some reason squelched.
Relying on disco, dance, and Latin beats, Pale Movie is one of the most driving tracks here. Upbeat and majestic and layered with innumerable pseudo-musical elements, the song is a worthwhile listen. Though, again the lyrics aren’t even close to decent. Any song with “la la la la la la la, la la la la la la la la” as the chorus could be better—much, much better.
Regrettably useless, Cool Kids of Death is too unthinking and dispassionate. Maybe I’m just not a fan of dance music, but something about this Saint Etienne track lacks heart. Luckily I Was Born on Christmas Day makes up for a musical deficit or two. A clarinet, trombone, and ringing bells all are included in the synthesized mix as is Cracknell’s lovely voice.
The Boy Scouts of America is a richly majestic track. Rather than dance, the song is some strangely compelling kind of melodramatic indie pop. Whatever genre it fits into, it’s a lovely track. A harp, a thunderstorm, and slowly building synthesizers weave the story while Cracknell elaborates:
She stirs from her sleep
and she calls for a beer;
he knows there are none
and pretends not to hear.
She hears his breath
like she's heard it before.
She cuddles her sheets
as he slips out the door.
At the end of the album are an extra mix each of Hug My Soul and Like a Motorway. The former is all too similar to the original to be considered an alternate version. Though, the latter is a bit thicker, louder, and heavier. Of course in the context of this album any additional thunder is most welcome.
Whether or not Tiger Bay is worth purchasing is a personal decision. Slipping occasionally into indie pop, the album is actually more of a dance and disco recording. If dance isn’t your thing, don’t buy Tiger Bay…you’ll be sorely disappointed. Otherwise, there are some great songs and some bland songs. I highly suggest listening before buying.
Rating: 3/5 stars
Track Listing:
01. Urban Clearway
02. Hug My Soul
03. Former Lover
04. Like a Motorway
05. On the Shore
06. Marble Lions
07. Pale Movie
08. Cool Kids of Death
09. I Was Born on Christmas Day
10. The Boy Scouts of America
11. Hug My Soul (alternate)
12. Like a Motorway (alternate)
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