lambchops's Full Review: Nineteeneighties by Grant Lee Phillips
What makes a singer-songwriter truly memorable is a voice. I listen to any given artist because they appeal to my inner self. I can sometimes ignore vaguely familiar or altogether obviously derivative melodies and I can look beyond too simplistic instruments. I cannot however get past a bad (or for that matter excellent) voice. There are really very few modern singer-songwriters who strike me as special on all levels. Grant-Lee Phillips is an original talent.
Prior to striking out with a solo career, Phillips led a moderately successful rootsy alt-rock outfit called Grant Lee Buffalo. While part of that band, he recorded a handful of albums (1993’s Fuzzy through 1998’s Jubilee) and scored a few modern/college rock chart hits. Still his name and music is painfully unknown. I cannot resolve why Phillips hasn’t attained at least the same level of fame as hacks like John Mayer. He is so much more gifted as evidenced by his growing discography.
The native Californian has now recorded and released three albums of solo material—Ladies’ Love Oracle (1999), Mobilize (2001), and Virginal Creeper (2004). During these years, his heartbreakingly gorgeous style has solidified his modern rock prowess. Songs including but certainly not limited to See America, Don’t Look Now, Squint, Josephine of the Swamps, Lily-A-Passion, Humankind, and most notably Spring Released are infinitely beautiful and unbelievably entertaining. With such a large number of well-crafted songs under his belt, Phillips felt it necessary to pay tribute to his various influences.
Nineteeneighties is a strange bird to say the least. Cover albums are rare for a very good reason. Artists who willingly cover ten or fifteen songs are being humble. Humility and rock and roll go together about as well as chocolate and pickles. Tori Amos, John Lennon, Duran Duran, Guns n’ Roses, and Twilight Singers have all recorded cover albums of varying quality. Phillips now joins that exclusive club. His choices are definitely rooted in what he knows best—early and mid 1980s new wave (aka, Punk 2.0). Their combination of musicianship and melody (not to mention rockstar attitude) undoubtedly attracted the young singer-songwriter during his formative years.
Eleven songs from the Nineteeneighties have made the cut. All are carefully arranged and performed. His delicate voice, acoustic instruments, and gentle style are not exactly what people unfamiliar with Phillips would expect considering the track listing. That said, I expected nothing else. For better or for worse these eleven tracks sparkle with quiet confidence. This is the likely reason why opening song Wave of Mutilation is also the most disappointing.
The Pixies classic was originally edgy and uneasy. Phillips reinterprets the song in signature style. Unfortunately it lacks the sharp urgency of the original. It pains me to admit that one of my favorite songs and artists could be so unsuccessful together. On the positive tip, each of the ten songs that follow is an improvement. I am reminded of just how special each track is by Phillips’ stripped down and organic approach. It is hard not to adore the emotion, words, and melody—not to mention the artist’s phenomenal voice.
Nineteeneighties, which is by the way also produced by Grant-Lee, comes into focus with the second and third songs. Age of Consent (New Order) and The Eternal (Joy Division) both had a distinct electric (and electronic especially in the case of New Order) sound. They have been slowed down and transformed into poignant pop ballads. If there is one thing that Phillips does to perfection it is to make pop timelessly relevant.
Twisted out of shape and back together selections from Robyn Hitchcock, The Psychedelic Furs, The Cure, R.E.M., Nick Cave, The Smiths, Echo & The Bunnymen, and The Church are also included here. Aside from the lovely Age of Consent, my favorites are spread across Nineteeneighties. I Often Dream of Trains (Robyn Hitchcock) is wildly successful with Phillips singing in a lovely, deep voice against an overall haunting feel. That mood continues with The Killing Moon (Echo & The Bunnymen). As one of my favorite songs of the eighties, I’m relieved to hear it done with such reverence. He doesn’t change the mood—instead just breaks the song down to its core. Light guitars, percussion and vocals with the classic melody are what make this song so special in this context.
Each song is gorgeous in a similar way—though because fans of the genre Phillips is covering will recognize each track they are refreshingly different. People unfamiliar with any one of the given artists should be able to easily enjoy the covers. This is what makes this album successful. Continuing on, I enjoy the acoustic sound of Love My Way (The Psychedelic Furs). A banjo paired with the usual Phillips fare makes for a lovely listen. City of Refuge (Nick Cave) is also fascinating. Cave’s voice is, of course, rather distinct. Phillips is so soft and rich that he adds a different facet to the urgent and evocative song. Similarly So. Central Rain (I’m Sorry) sounds so different in this interpretation. This artist sounds nothing like Michael Stipe which puts the focus on the songwriting. The proof, as they say, is in the pudding. This pudding tastes like smooth vanilla with the occasionally surprising chocolate swirl. The chorus is what really gets me—Phillips sounds absolutely glorious as he sings “I’m sorry” repeatedly.
I could go on and on about each of these songs, but I think there is something to be said for brevity in this case. Phillips is an amazing artist. These eleven songs are originally by amazing artists. Put them together and you have a fascinating, albeit not without imperfection, album. I highly recommend picking Nineteeneighties up. It could be a great way for people to come to know Grant-Lee Phillips. If you enjoy this album may I suggest picking up Mobilize next. You won’t be disappointed.
Rating: 4/5 stars
Track Listing:
01. Wave of Mutilation
02. Age of Consent
03. The Eternal
04. I Often Dream of Trains
05. The Killing Moon
06. Love My Way
07. Under the Milky Way
08. City of Refuge
09. So. Central Rain (I’m Sorry)
10. Boys Don’t Cry
11. Last Night I Dreamt that Somebody Loved Me
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Grant-Lee Phillips is one of the most gifted songwriters of his generation, having written and recorded critically lauded albums as both a solo artist...More at Buy.com Marketplaces
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