Label: EMI
Year: 1995
Home: England
Members: Adam Ant ~ vocals
Boz Boorer, Marco Pirroni ~ guitars
Bruce Witkin ~ bass/mellotron/b. vocals
Dave Ruffy, John Reynolds ~ drums
This is such a different beast than anything Adam did before that its a bit shocking
at first listen. There's no familiar ground to latch on to. There's nothing here like the many early hits he's known for, nor anything like the facelift of Manners & Physique. Adam & The Ants had only three albums from 1979 to 1981's Prince Charming. One can draw a logical musical progression from that through Adam's solo career, through 1985's Vive le Rock. M&P came out of nowhere breaking the musical progression with a brand new sound & look that was tailor-made for the 80's. Yet, one will find that Adam's solo career began to veer far from his roots early on, & ramble a bit as though he wasn't sure what solo Adam sounded like. M&P's new direction shouldn't be too shocking when looking at the broad picture, though it did make a huge jump from what came before. At least it still had the big beats that are the backbone of his music, given few talk about Adam in league of our greatest singers and songwriters. M&P was actually my introduction to Adam. I loved it the moment I saw "Room At The Top" on MTV. I would imitate the video while watching. Going backwards in time was a bit of a shock that took a lot of listening to get through. So, when I came to M&P's follow-up Wonderful I figured it would sound different, since that's the defining trait of his solo career, but it set me up for another shock as its nothing like M&P & hints even less at his past albums. Its via this album that I came to the conclusion that Adam is really a bit of a lost soul, & it can be hard to be a fan since you never know where he's going next. He's not going to repeat himself, so if you like something, don't expect more. Actually, given the years between albums, don't expect anything. The problem I have with digesting Adam's music is that he's really a creature of visuals & throw-away catchy songs over substance. Nobody talks about the deep moving lyrics of "Apollo 9", or any of his lyrics, really. Are there actually any lyrics to "Fall-In"? His songs traditionally focused on some fun phrase, a big beat, & little else, for the delight of all. His songs were so simple they were hard to ignore, fun to dance to, & easy to remember. M&P straddled the line between throw-away pop songs & a new taste for poetic lyrics. The later worked as they were often tucked behind catchy chorus phrases & memorable melodies. Yet, on Wonderful he takes a step further into the poetic & has seemingly decided to largely dump anything throw-away, while putting more focus on substance than visuals. For me, it does not work. I applaud the change of direction, but its not something I enjoy coming back to, while too many songs feel more like demos of soundscapes than anything. The catchy choruses aren't really catchy, while the music & lyrics are pretty much dreary. You're not dancing to any of this. "Stand & Deliver" is now sitting & pontificating. I'd call this his most introspective album to that time. I am glad to hear he's trying more & aiming for better lyrics, I wish he didn't jettison the pop for moody middle aged man. M&P was at times moody, but it was still fun, even if it was over-polished fun. Before going on, I should say I've been listening to this album off & on since it came out, trying to give it another chance. I listened again to write this review. I'll think of a song & the memory of it is good. Then I listen to the song & find my memory is making up for where it lacks. Its not quite as good as I remembered. I really hate when I have that happen. I hate to find my memory is better than the outcome. I also have songs on this album that I just can't recall for the life of me. I want to like this album. Even the fact it has guitarist Baz Boorer of Morrissey's band, & I am a huge Moz fan, doesn't help. What makes this experience worse is that Adam is on my super short list of musicians who I'd love to see live, & I'm not much of a concert goer as I'm ultra selective in who I see. Interestingly, I always struggle to remember any of the lyrics on this album, which is the opposite of "Room At The Top" & earlier hits. I remember the moods of the songs, but nothing too precise about them, particularly how they drone on. This was recorded in Abbey Road Studios. Some have compared it to the Beatles due to its prolific acoustic guitars & lush landscapes. That's a stretch. "1969 Again" tries to tap into the Beatles' later days, but doesn't really gel musically as it tries to fuse the 1960's with Adam's earlier punk sound with something that likely is trying to imitate drug use. It fails on every level & just becomes odd. If its the Beatles, its the outtakes that never made it to an album. "1969 Again" is actually a good example of what much of the album feels like. The guitars are less in your face than earlier albums, songs swirl in moods that are more mellow than not, acoustic guitars are plentiful, songs straddle retro sounds with a newly invented moody middle aged Adam, lyrics are ultra somber, & the big foot stomping beats are few. Ironically, he actually sings his heart out in what might some of his best vocals on tape. Honestly, there's nothing on paper wrong with Adam crooning over acoustic guitars with no big beat, but when he's done a career of something else its off-putting. While without the big dance beats the album stumbles under it own sobriety. There is nothing to lighten the mood, particularly as too many songs seem to go for droning soundscapes over anything. This album feels like it is trying to find itself in the 90's alt rock scene of wannabe poets. It puts the lyrics before the beats here, the reverse of his entire career. Prince Charming has left the building to make way for Leonard Cohen or Nick Cave? Sweeping musical landscapes over seemingly autobiographical songs are almost too heavy for someone who based his career on having fun. "Gotta Be A Sin", "Alien," "Image Of Yourself" goes for a modern rockabilly sound, but lack any beat & thus don't take off like they should, & blend together as one long unclimactic drag. The title track, "Won't Take That Talk" & "Beautiful Dream" are highlights for me, all popping in memorable Adam style. If only the rest did, too. After drafting this review I listened to its long delayed follow-up in Adam Ant Is The BlueBlack Hussar In Marrying The Gunner's Daughter, the only album by him I hadn't heard yet. That continues from the direction that Wonderful started, but its even more moodier, more varied, more anything but listener friendly. I won't be reviewing that album. I wanted to, but have very little good to say about it even after taking notes while listening. Okay, okay ... good for Adam for making another album, but did he never cringe in fear in the studio at the mess he was making? Its the worst album of his career, & even his singing can't lift it up ... given he warbles with strange melodies instead of singing properly. Has he forgotten how to sing? I wish he hadn't gone the direction of Wonderful & instead gone back in time. Baz Boorer returns on guitar, & his co-compositions are tough listens, as experimenting is the goal over great songs here. Essentially, this is the sequel to Wonderful with the kitchen sink included, & no focus. Time to get a new band & group of co-writers, Adam, or just retire again.
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