World Party – Dumbing Up

 

World Party – Dumbing Up

By

Jesse E. Mullen

 

Most bands, by nature, have multiple members. Even groups with high turnover can be considered bands. Heck, The Fall had over 50 members filter through the group, and no one questioned their band status. But World Party is different.

Karl Wallinger is a multi-instrumentalist from Prestatyn, Wales. He got his start as keyboardist in The Waterboys before forming World Party in 1985. However, World Party was no ordinary band. Wallinger assumed the role of total auteur, preferring to record all instruments himself rather than working within a group context.

This led to an overabundance of synthesizers on World Party’s debut Private Revolution. But on Goodbye Jumbo, Wallinger hit his stride. Released in 1990 to rave reviews, Goodbye Jumbo proved that Wallinger could mix his influences into something original.

The album tackled the sounds of funk, ELO-styled psychedelic pop, and ‘80s Prince. Wallinger’s dedicated cult had to be wondering – where could he go from here? Turns out, all over the musical map.

World Party’s next two albums – Bang! and Egyptology – contained multitudes of stylistic shifts. From Scottish folk, to hard rock, to McCartney-esque balladry, Wallinger was establishing himself as a master craftsman. As great as they were, neither album quite measured up to Goodbye Jumbo as a whole.

Wallinger released a new World Party album in 2000. The record – entitled Dumbing Up – was bound to excite fans of Wallinger’s songwriting. But the question remained – could Wallinger follow up Goodbye Jumbo and release something equally enticing?

On opener “Another 1000 Years,” Wallinger evokes the sound of John Lennon’s Magical Mystery Tour compositions. Wallinger even sings in the same range as Lennon. The lyrics are surreal and reference the ending of Pulp Fiction. A whirlwind start, but things only get more exciting.

Wallinger’s Prince love is back on the upbeat “Here Comes The Future.” Featuring falsetto vocals, a hip hop interlude, and Wallinger’s funky guitar leads, the track is almost unparalleled in the World Party universe.

To shake things up further, the album also has two piano ballads – “Santa Barbara” and “Always On My Mind.” In “Santa Barbara,” Wallinger looks back on fond memories with the wisdom of an older man. The sparse arrangement only highlights Wallinger’s underrated abilities as a storyteller.

“Always On My Mind” is something else entirely. It retains the sparse arrangement of “Santa Barbara,” but uses the opposite approach. Rather than looking back nostalgically, Wallinger is looking at the present with contempt. Throughout the song he tackles religion, inauthenticity, and politicians who go back on campaign promises.

“High Love” is perhaps the romantic highlight of the album. Wallinger had written great love songs previously – most notably “She’s The One,” but also “Love Street” and “All I Gave.” “High Love” goes a step further however, by being cinematic in scope, both lyrically and in the arrangement.

A subtle drumbeat and lap steel guitar kick off the proceedings. Wallinger’s voice enters, and he introduces us to the woman of his affection. He saw her from the stage, in the audience at one of his shows. It was love at first sight.

Once the chorus hits however, the song goes up a notch. The listener is surrounded by the adrenaline rush of lush strings and Wallinger’s smooth voice. Pop balladry of this caliber is rare in modern times, but Wallinger nails it, both vocally and from a production standpoint.

As the song progresses however, we begin to realize that not all is right in the relationship. He says his “high love is on the rocks,” both a statement on his relationship and a sly reference to drinking one’s troubles away.

It’s easy to picture the song at the climax of a drama or romantic comedy film. The part when the man has messed up royally and must work quickly and tacitly to regain the woman’s trust. But unlike the movies, Wallinger never tells the audience whether or not things worked out.

Some artists are outright plagiarists while others blend their influences together so well that they create an original sound. Karl Wallinger is one of the latter artists. His World Party project always produced fascinating music but Dumbing Up may be his magnum opus.

Seaview/2000

 

 

 

 

 

 

XTC – Apple Venus Volume 1

 

XTC – Apple Venus Volume 1

By

Jesse E. Mullen

 

You lead a successful band for 15 years. You’ve transcended genre, going from glam to post-punk to college rock and finally your own blend of sophisti-pop. Then you enter litigation with your record label and are forced to take an eight-year break from recording.

So was the story of XTC. The Swindon-based band – really a duo of Andy Partridge and Colin Moulding – had formed in 1972 and released a handful of classic albums. But problems with their record label Virgin led to a forced sabbatical in 1992.

That all changed in 1998 when XTC were finally freed from their contract. And in 1999, a brand-new album was released on TVT Records entitled Apple Venus Volume 1. Certainly, the years apart would have an effect on the music. But would it be as enticing as their previous work?

Things get off to a shaky start with the repetitive, art-pop groove of “River of Orchids.” Partridge seems fascinated by the way that words of English language sound when inverted – specifically “circus” and “circle.” And it is fascinating from a linguistics perspective. Just not for five minutes and fifty-three seconds. 

However, the track does set the stage for the stronger moments, utilizing syncopated strings. They transform the track from a clunker into an interesting – albeit skippable – introduction to the “new” XTC sound. Track 2 is where the real fun begins.

“I’d Like That” boasts a chugging palm muted acoustic guitar, clever wordplay, and gorgeous harmonies. Partridge seems to be having fun making comparisons between his partner and himself with doomed lovers of famous lore. But it’s not the only song of doomed love.

“I Can’t Own Her” speaks of Partridge’s unrequited love towards an unnamed woman, and the resigned sadness it brought him. Chilling strings and a fingerpicked acoustic guitar announce the track in grand fashion. But Partridge’s harmonious vocals bring it to another level. 

However, the most bitter tune on the album – as well as one of the best – is “Your Dictionary.” A sharpened barb to Partridge’s doomed marriage, it is extremely effective at displaying the singer’s contempt. 

“Your Dictionary” is relatively simple musically, but the lyrics are some of the most unique heard in pop. By spelling out a word and describing the antonym, it is an apt metaphor for the mind games and emotional abuse which can end a relationship.

Elsewhere, we hear Partridge combining psychedelic pop with Spectorian wall-of-sound production on “Greenman,” and harking back to childhood memories on “Harvest Festival.” The strings are out in full force on the former, and it’s a joy to hear through headphones. On “Harvest Festival,” we hear a sound not too distant from early Beach Boys. 

But it’s his sidekick – bassist Colin Moulding – who delivers perhaps the most satisfying track on the album in “Frivolous Tonight.” The song begins with a piano theme combined with horns, sounding not unlike Burt Bacharach. And the lyrics take it to another level.

Moulding tells a tale of people only want to talk about “trivial things.” And it’s all delivered in dry British humor (or humour, as they say.) When some poor soul wants to talk shop, he is ejected from the party in dramatic fashion.

Once the chorus hits, the listener is greeted by absolutely gorgeous harmonies by Partridge and guitarist Dave Gregory. It’s a defining moment on the album, and quite possibly of XTC’s discography as a whole. 

Sadly, this would be one of the last tracks to feature Gregory, as he left the band shortly before the record’s completion. A member of XTC since 1979, Gregory’s departure had a profound impact on the chemistry of the band – both personally and musically. XTC would release only one more album before disbanding in 2006.

Most bands – particularly a band that had been around for several decades – couldn’t take an eight-year hiatus and stay motivated. But XTC were not an ordinary band. Picking a favorite XTC record is often an exercise in futility, but Apple Venus Volume 1 makes a strong case as the pinnacle of the Moulding/Partridge partnership.

TVT/1999