adrian belew - desire caught by the tail

benchmark

this was belew's first serious solo attempt, and his last for many years. it's also a record of quite subtle merits, but revolutionary in it's own sphere.

there's a lot of accusations one could honestly level at belew on this, without the need for much of an argument or the production of much dissent. does he really know how to write tangos or "gypsy music"? does he know anything of substance about the impressionism and serialism he's leaning towards? well, it's rather apparent that he doesn't, really. he consequently falls into a number of clichés in the process of being pretentious about the whole thing. the reality is that he doesn't have a phd in ethnomusicology and it very much shows.

so, he's not al di meola.

....but if you want a di meola disc, there are plenty to choose from. this is a different animal altogether, in the sense that it is apparently entirely synthesized. if you've flipped on a synth, you know how this works. you start by perusing the preset banks for a bit, pushing a few keys and just kind of jamming. when you get to the last preset bank, you're presented with a series of instruments you've never heard of before. you think "gee. what's an ocarina?", as you hack some asian sounding thing out. within twenty minutes, you've got the board split to gongs on the bottom half (which you're mashing with your palm) and a synthesized wind chime on the other, and you're pretending as though you know what it would feel like to discover a pristine, untouched lake on the china/tibet border...

after an hour or so, the guy that owns the store hits you with a mallet and you snap out of it. it was fun while it lasted...

....you certainly never contemplate releasing what you just did on island records, then expecting it to sell more than ten copies. note that this disc is currently many years out of print.

so, it's easy to deduce that this is how a lot of the non-western sounds found their way into this: simple curiosity spurred on by playing with the presets on a synthesizer. yet, the sound on this record isn't being produced by a traditional keyboard synthesizer. rather, it's being produced by a cutting edge roland guitar synthesizer. for that reason, i'm very much willing to forgive the pretension. see, it's what the record is: a self-taught, abstract guitarist playing around with a toy that wasn't just new to him, but pretty much new to the world. if you remove a handful of words from the title tracks, what you're left with is music that sounds like it came from nowhere on this planet at all.

that's not to say that the songs are badly constructed. the clichés are at times heavy-handed, but the record is stronger for them. take the third track, for instance. it sounds exactly like a self-taught guitarist pretending he knows how to write ethnic roma music, which is precisely what it is. yet, breaking through the pretension produces a bizarre jam that stands up well on it's own, when taken out of that context. i mean, i wouldn't have otherwise thought to think that. the second track combines circus music with a standard blues progression, all through a haze of synthesized guitar work, in a way that leaves you scratching your head and wondering what you just listened to. so, stripping out the hackneyed attempt at ethnic music would deny the record of it's charm and leave what is yet another experiment in frippertronics. that doesn't mean that the hackneyed attempt at ethnic music needs to be interpreted as ethnic music at all; rather, it's nature as a hackneyed attempt makes it very easy to completely ignore. a more substantial criticism is that the tracks are obviously mostly improvised, and might be perceived to meander a little. yet, that meandering can also be perceived as comprehensively exploring the synth tones. i don't personally find that it drags, but i realize that my own bias on the point (being a fan of abstract guitar music) is likely substantial.

the result is admittedly a record that is defined more by the tools used to create it than by the notes within it; insofar as it is the latter rather than the former, it's a substantial piece of music in a historical context. this is the sole reason i'm grading it as highly as i am. the last point is really central: i am a fan of abstract guitar music. if you are not, this might not be for you. if you are, you'll likely at least appreciate the record as carving out a unique space in the spectrum of guitar music. no, it may not excel as a conventional piece of music in much of any way, but as an unconventional piece of music it's not really convincingly comparable to anything else i've ever heard. that makes it something to isolate as unique and still potentially genre-defining, as well as an essential record to explore - if not an essential record to love.

stream:
https://www.youtube.com/playlist?list=OLAK5uy_mpb8sKnQAZ8yQ8ZEuMGji1pNwXFR8l6_o

http://dghjdfsghkrdghdgja.appspot.com/categories/music/artists/AdrianBelew/1986-DesireCaughtByTheTail/index.html

adrian belew - here

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

deathtokoalas
this is both the low point of bowie's career and the low point of belew's career.

BamChug
You obviously never watched Labyrinth.....

deathtokoalas
labyrinth is at least humorous. this is just bad.

keeelane
i love this

deathtokoalas
his work between black tie white noise & hours is the absolute high point of his career.