listenable
musical success is a difficult thing to understand in the era of big labels and mass marketed products. what seems to cut through the haze of aggressively marketed plastic images is often a sense of accidental honesty (sometimes accidentally on purpose). belew had the right combination of talent and eccentricity that he may have potentially been able to tap into this back door to large scale success had he simply done the things that made him unique. instead, he lost a few years in the early 90s trying way too hard and falling flat on his face. this site reviews my personal collection, which does not include the records he released in 1989, 1990 or 1992 because they do not overlap with my tastes - and more or less precisely for the aforementioned reason.
nor was he at all coy about it. 1989's mr. music head opens with a duet with his young daughter that declares that he's going to make it to the big time. gabriel references aside, there's a certain desperation in his projection that seems utterly forced. this was followed up quickly by a collaboration with david bowie, 1990's young lions, that is as notable for bowie sounding tired, clichéd and ten years out of date as it is for belew trying to piggyback him to greater success. these records do not veer far from belew's out of touch sense of popular music, which happens to also be a blatant attempt to emulate the bands he had previously done session work with.
it's not that this record veers particularly far from what he was doing in the early 90s. there is a noticeably heightened beatles influence, but that was always present. he's still drawing heavily on both berlin-era bowie and on the talking heads. it's more that he seems to have regained some perspective about who he is as an artist. the fourth track on this record, fly, seems to end the thought that began mr. music head:
after all, i'm only sand
to irritate the oyster and
to wait for a pearl
and even though i must concede
greatness has eluded me
i'd still miss the world
he actually seems to be contemplating (and firmly rejecting) thoughts of suicide stemming from what he's interpreted as a failed career as a pop musician, opting instead for a resignation towards the meaninglessness of existence. the track is absolutely gorgeous, and a fan favourite, but it's also a turning point in his career. from this point on, his concern shifts purely to producing abstract music. this is where he seems to have finally found himself, in his mid 40s.
for the disc at hand, this does not manifest itself in a radical change but in a greater focus on both the depth of the songwriting and in the nature of the production. he sounds refocused and more down to earth. the hooks are more fluid, the flourishes more idiosyncratic, the solos more heartfelt. ironically, it's once he gives up that he produces something that could have been a left-field alternative rock hit in the late 80s. by '94, though, the music world had changed far too much for any chance of this selling beyond his existing fan base. regardless, i'd argue it's the best of his handful of pure pop records.
so, there's maybe a lesson here about staying true to yourself.
stream:
https://www.youtube.com/playlist?list=PLKoDHRV0ImP-Ur3lR19tRb7ZypFZJT4N1
http://dghjdfsghkrdghdgja.appspot.com/categories/music/artists/AdrianBelew/1994-Here/index.html
