lambchops's Full Review: Between 10th and 11th by The Charlatans U.K.
Inspired by the success of the Stone Roses, the Charlatans formed in the expected Manchester, England in 1989. The sound the band created wasn’t revolutionary. The typical “Madchester” baggy sound they created was definitely entertaining, but other acts ranging from James to Stone Roses to Happy Mondays performed the task of amusing just as well if not better.
The original incarnation of the band lasted through just one full-length effort, 1990’s Some Friendly. It was during the recording of the sophomore effort Between 10th and 11th that founding member and guitarist Jon Baker abruptly cut ties to the Charlatans. Now going by their original name with the addition of U.K. to distinguish them from an elder garage rock band, the band was able to come back together and offer up another dose of their not-so-original sound. Still consisting of vocalist Tim Burgess, Rob Collins (keyboard), Martin Blunt (bass), and Jon Brookes (drums) the band replaced Baker with guitarist Mark Collins.
Despite the various internal issues (also including Blunt’s bout with severe depression), Between 10th and 11th finally happened in 1992 on Beggars Banquet. These copious problems of course crossed over in marked way to the ten recorded tracks. While the band themselves consider this to be their least purposeful album it is in actuality better than one might expect. Flood’s production lends itself well to the Charlatans dark Madchester style and most songs are on the whole at least entertaining.
On Between 10th and 11th the main problem that pops up is that most songs sound like one another. In some cases, this is fine, but a truly great band can elegantly switch between influences without sounding cliché. Unfortunately this skill is not present within the Charlatans on this particular release. With that said, the album while not perfect is by far better than the majority of music. It’s appealing, invigorating yet dark and at times even the slightest bit thought provoking.
The one track that was successful on its own merits was Weirdo. At the center of the piece is Collins’ organ commonly prominent among much of the Charlatans music. Paired with a rock guitar and dance beats, the song is fascinating. While not the epitome of perfection, it is a great place to start with the band. And while Burgess’ vocals are lovely, they are not by far the central element. Weirdo is a superior song, though not the best lyrically or vocally.
A track that really showcases Burgess and his talent is the lead off I Don’t Want to See the Lights. Swirling guitars and funky melodies introduce the album nicely. And when Burgess finally breaks in the nature of the track comes into focused. It’s relaxed, intelligent, and restrained. Much of this can be attributed to the uncommonly calm vocals from Burgess. His voice is reminiscent of Mike Edwards (Jesus Jones) although he’s much less aggressive, a characteristic that works well in the confines of the Charlatans.
Tremelo Song is another outstanding track. Once again, the Collins keyboards are extremely important. In fact, those keys actually start the track while the drums followed by bass guitar and then finally completed by the other instruments are added. When Burgess finally breaks in, his voice is more of an instrument than the singular focus. It’s easy to get long in the song and forget the lyrics, but in this case they are actually somewhat catchy:
Not going to waste outside and I don't know where you could ever go.
I wonder why, you bleach the sky
And could not break these strings of mine
There are a few other songs worth mentioning. Some are most definitely influenced by Flood (who has worked with artists like New Order, Erasure, U2 and Depeche Mode). Both Subtitle and Ignition are markedly electronic with echoing vocals barely peeking over the top of the intricate layers of mixed atmospherics, synths, and bass. While not usual to the Charlatans, these songs are among the band’s best of this album. Also of note are Can’t Even Be Bothered and No One (Not Even the Rain).
As mentioned earlier, the Charlatans sometimes are a bit too repetitive. Songs including Page One, The End of Everything and Chewing Gum Weekend smack of other works on this album. They aren’t bad, but also don’t present anything new to listeners.
Between 10th and 11th was the last purely pop-dance-rock oriented album from the Charlatans. Perhaps they sensed the end of Madchester closing in, perhaps this is why in subsequent releases they leaned more toward a classic rock sound. In fact, it was in 1995 that the band somehow managed to regroup and gain overwhelmingly positive reviews of their eponymous fourth album. Their critical and commercial success persisted throughout the 1990’s despite the tragic death of founding member Rob Collins. Albums including 1997’s Tellin’ Stories, 1999’s Us and Us Only, 2001’s Wonderland and most recently 2002’s Songs From the Other Side all followed though in recent years the quality of the music has dropped.
Whether or not the Charlatans made any real impression in the world of music is questionable. Most of the band’s albums are better than average and a few do border on greatness. Unfortunately, all of those successes are overshadowed by the brilliant self-titled 1989 Stone Roses debut and even the freer and hedonistic Pills ‘n’ Thrill and Bellyaches from contemporaries Happy Mondays. The Charlatans aren’t particularly adventurous, instead the band is content to rehash old formulas and reuse old ideas. Not a novel idea but executed well enough to keep a modest following.
Rating: 4/5 stars
Track Listing:
01. I Don’t Want to See the Sights
02. Ignition
03. Page One
04. Tremelo Song
05. The End of Everything
06. Subtitle
07. Can’t Be Bothered
08. Weirdo
09. Chewing Gum Weekend
10. (No One) Not Even the Rain
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