rob dickinson

REVIEW: Catherine Wheel – Adam and Eve (1997)

CATHERINE WHEEL – Adam and Eve (1997 Mercury)

The 1990s presented a slew of new bands that, while not hard rock, did rock.  Some of them had connections to heavy metal.  Catherine Wheel had more than a few.  For example, Iron Maiden.  Managers Rod Smallwood, Andy Taylor, and Merck Mercuriadis (listed as a member of the band on this album) also handled Iron Maiden.  Singer Rob Dickinson has a cousin in that band.  For even more rock royalty, Bob Ezrin has a production credit as does Gggarth Richardson.  (With credits like those, you won’t be surprised that the album was partially recorded in Canada.)

For my money, I think Adam and Eve is Catherine Wheel’s best album.  It’s an argument that can be made, for it is a big dense emotional listening experience that plays out like a concept album.  The acoustic intro certainly lends the feel of a complete, framed work.  “Let’s get started…let’s get started…”

Blowing in like a cold wind, “Future Boy” quietly continues.  Droning guitars blend in as the song builds, and breaks into a beautiful acoustic verse.  Sonically layered, droney and feedbacky music, hits you wave after wave.  Rob Dickinson’s emphatic vocal melody is the initial hook, but there is so much more going on with “Future Boy”.  An utter masterpiece.

Then we suddenly careen into a poppy blast of fun called “Delicious”.  Simple in structure, but with hidden hooks in the mix.  A guitar blast, a brilliant chorus, and plenty of shimmer.  An easy single.  A piano interlude (further adding to the conceptual feel of the album) breaks into another single “Broken Nose”.  This one slams a little harder.  A stream of building music.  There’s a quiet break and then it’s back to hammering guitar.  There’s also depth — bells, organ, subtle guitar melodies.  Another real masterpiece.

Into epic territory.  “Phantom of the American Mother” bleeds acoustics, electrics, organs, percussion, and plaintive vocals.  “How you gonna feel if Superman and Sonic Youth are fairy tales?”  It’s a trip in and of itself, full of deep emotions and musical genius.

On a personal level, “Ma Solituda” is and probably always will be my favourite.  There’s a delicate sadness, but with a hopeful shine…and cello.  A gentle acoustic strum is paired with a defiantly powerful chorus.  It’s a vocal tour-de-force for Rob Dickinson.

“Satellite” has a pop feel, with an upbeat guitar hook.  Crashing cymbals, an unbelievable chorus, and loud guitars.  “Satellite” was not a single but should have been.  The refrain of “When you and I were young,” will ring in your brain for hours afterwards.  A slew of guitar solo noise is like frosting on top of a very loud and sweet dessert.  The mood turns on “Thunderbird”, a long but undefeated number with its own peaks and valleys of emotion.

Between “Thunderbird” and the next track, “Here Comes the Fat Controller”, the album becomes more of a slow burner.  The previous poppy firecrackers gave temporarily given way to some tracks that are more…mountainous.  They take time to climb.  “Here Comes the Fat Controller” is one such song, but a rewarded exercise.  Listen for tinkling piano in the back, adding even more colours to the palette.  “Sing, sing,” and enjoy.  “How do you feel?”

You can really hear Bob Ezrin’s influence at this part of the album.  The music gets muffled as someone gets in a car and closes the door, shades of “Detroit Rock City”.  The mood changes again on “Goodbye”, like a lullaby for a hangover.  It also feels like that a song that belongs near the conclusion of an album like this one, with its cinematic nature.  There’s still “For Dreaming”, the longest song and the climax to a pretty intense album.  That still leaves the denoument, which is the soft untitled outro.  With minimal accompaniment, Rob Dickinson ends the disc.

I’m gonna phone,
Everyone that I’ve known,
Through the downs and the ups,
And who I suspect have written me off…
As an insensitive fuck…
And say good luck, and goodbye.

Like a favourite movie, Adam and Eve feels like a story with a beginning, middle and end.  With conflict and resolution.  With character growth, and avoidance of cliches.  With light and shade, nuance and allusion.  Roll all that into a rock album and you have a hell of a way to spend an hour.

5/5 stars

 

 

Sunday Screening: Catherine Wheel – “Ma Solituda”

“Start the day in a cold December way.”

It’s almost December so let’s have a listen to my favourite December song!  Though you might not be able to tell from just the music video, that’s Bruce Dickinson’s cousin Rob Dickinson singing in Catherine Wheel.

From their excellent 1997 album Adam and Eve, enjoy this melancholy masterpiece. I don’t know about you, but that’s not what Canadian Decembers look like….

Look for a full album review soon.

REVIEW: Iron Maiden – A Real Dead One (1993, plus single)

Part 17 of my series of Iron Maiden reviews!  NOTE:  This album was later reissued as part of A Real Live Dead One.

IRON MAIDEN – A Real Dead One (1993)

When Maiden hit the road for what was to be Bruce’s farewell tour, it did not go as the band intended.  There were some positives:   Because this was Bruce’s farewell, the band decided to pull certain older tracks out of the box, and record them for the next live album, A Real Dead One.  But three of the four other Iron Maiden members (Janick Gers being the sole holdout) have accused Bruce of sabotaging that last tour.  I’m sure this is all water under the bridge now, but Maiden were furious that Bruce seemingly stopped trying, barely sang, and underperformed on certain stops on the tour.  Only the big gigs, with the cameras and the press, did Bruce put any effort into singing, claimed the band.

Whatever the case may be, Bruce did turn up for the tracks on A Real Dead One.  And Maiden stacked the deck with great tracks, stretching from the first album to Powerslave.  And those older seldom heard tracks that Maiden pulled out of the box?  Yeah!  You get classics like “Remember Tomorrow”, “Where Eagles Dare”, and “Prowler”.  None of those songs were on the immortal Live After Death (neither was “Transylvania” or “Sanctuary”!) so that brings added value to this album, as a companion piece of sorts.

But it could never live up to the legacy set by Live After Death, and although it’s certainly better than A Real Live One, I can’t say I play this too frequently.   The band are on fire and playing as furiously as ever.  The solos are nothing if not sublime.  Steve and Nicko gallop forward driving the whole thing.  That’s all well and good.  The vocals don’t seem mixed high enough to me.  Bruce’s voice is also obviously wearing with age.  It happens.  I think the album has a better overall sound than A Real Live One however.

I don’t think “Remember Tomorrow” needed backing keyboards, although Dave and Janick’s guitar work is beautiful.  I love Janick’s noisy chaotic solo that still somehow fits the song.  I also love Nicko’s drum work and fills.

“Hallowed By Thy Name” appropriately closes the album, and was also the album’s single.  The fantastic cover art shows Bruce being killed by Eddie, a trick they would try live for their final gig (and more on that when I get to it).  “Hallowed” had two unique live B-sides:  “Wasted Years” and “Wrathchild”!  Both are worth having.  “Wrathchild” probably could have been on this album, and “Wasted Years” definitely should have been on A Real Live One.

Derek Riggs came back for the cover art.  DJ Eddie seems to be spinning discs in hell, at 666 FM!

Even though this was Maiden’s second live album of 1993, it was not their last!  Stay tuned…

3.5/5 stars

Below:  Note Bruce promoting his cousin Rob Dickinson’s new band, Catherine Wheel!  Also seen, the CD for the combined A Real Live Dead One release.