Extensive deep-dive analysis of full-length albums are the primary review focus for the month of June here at DaveCromwellWrites. A long-time legend returns with their much-anticipated brand new studio album, delighting fans old and new along the way. Additionally, another frequently reviewed, trusted music label presents a storied collective in their own right. All of this excellent new music is now run through a close-listen analysis, checking for audio clues to the secrets of life.
It was a mere 4 months ago when Sophie Ellis Bextor announced the coming release of her 7th full-length album “Hana.” Promising a record of all new original material, the advance single “Breaking The Circle” was dropped at that time, receiving critical acclaim (as well as a detailed review of it here). Now the complete album has arrived, and with it a rising tide of positive feedback and prominent chart placement. Having reviewed all of Sophie's studio recordings since this sites inception 15 years ago (as well as on fan sites 7 years prior to that) DaveCromwellWrites sets its laser focus on this new album.
Once again collaborating with writing partner Ed Harcourt in a similar manner as on her sixth (“Familia”) and fifth (“Wanderlust”) studio albums, the creative chemistry between the two is undeniable. A celebrated solo artist, Harcourt also Produced, as well as providing piano, synths, samples, organ and backing vocals. Additional production came by way of The Feeling founding member (and Sophie’s husband) Richard Jones, who played all the bass guitar, chipping in with additional synths and backing vocals. Filling out the studio musicians (most of whom are also in Sophie's current live band) are guitarists Pablo Tato, Seton Daunt, violinist Gita Langley and Jackson Ellis-Leach on drums.
The album begins with arpeggiated synthetic pulses laying a steady undercurrent for an emotive “A Thousand Orchids.” Choosing a flower titled lead-off track for the Japanese influenced album overall (with “Hana” translating to “Flower” in that language) points to an intentional pathway on this journey together (between artist and listener). Carefully placed piano chords are the only other initial accompaniment to Sophie's up-close-in-your-ear vocal lines that lead you away from “witches” and “ghosts.” She'd rather you “look for the beacons that show the way.” Gentle synths and electric pianos slowly work their way into the mix by the time she reaches that title line. Stating universal truths we all need to remind ourselves of - “it's so very human to to live as if nothing will end. Though no one's immortal, our secrets will let us pretend.” At the songs midpoint a more driving synth pattern begins, with ethereal vocals floating above. More defined keyboards mark out the chord progression as reverberated snare-drum shots enhance Sophie's final dramatic chorus.
As stated above, follow-up track (and first single) “Breaking The Circle” takes late night existential musings and fashions them into a danceable pop song. Full review of that here. What we didn't have *at that time* - but do now – is a gorgeous video to go with that song.
The deceptively upbeat “Until The Wheels Fall Off” was revealed to be Sophie's “most personal song on the album” in a recent live chat. Extolling the virtues of living-life-to-the-fullest every day you're blessed with, the lyrics were inspired by a letter from her late step-dad. Essentially piano-driven, the tracks enthusiastic groove is powered along by a nimble drum pattern. “Let's taste all the best we find under the sun – till it's done” is the overriding sentiment. Because living your best life IS to “laugh and love until the wheels fall off.”
Moving into the desirous fantasy realm, “Everything Is Sweet” tells a tale about obsession and “endless longing.” Deep buzzing low-end synths and forceful punch drumming comprise the instrumental bulk behind Sophie's vocals. Establishing a contrast between dark and light, “shadow,” ”shrouded” and “clouds” has the imagination turning them into an “enchanted,” “heavenly fortress.” The bridge between verse and chorus tugs sweetly at the heart with it's romantic chord progression and “wait so patiently” lyric. Repeated listening reveal enjoyable audio easter eggs, like the energetic bass guitar and drum interplay, lifting off into space synth rises and piano chords on the fadeout.
Second official single release “Lost In The Sunshine” comes complete with a gorgeous video that dazzles the senses. Playing to her obvious visual strengths, Sophie returns to the scene of previous videos (and other significant events) in Italy and Rome. The very first shot has Sophie standing in front of the nearly two thousand year old Roman structures, wearing (as she revealed) a dress she wore over 20 years ago in one of her first videos. All the footage here for more than the first half of it is presented in black and white. The multiple outfits are quick cut for maximum introductory effect, and her overall style morphs between Audrey Hepburn's Breakfast At Tiffany's and Sophia Lauren Italian glamour. The song itself is a gentle float-away dream of a perfect day with the one you love. A joyous summertime anthem that touches on the nostalgia of a hot, hazy day, described as looking “clementine.” Gradually, sepia toned images are introduced as Sophie rides a train (stunning in ultra-glam close-ups) singing about how “the ice is melting” and “sun overhead.” The footage playfully rolls out more elegant dresses as it hops around locales. The final third introduces full color imagery with the alluring one riding commuter cars, sitting in restaurants, drinking beer and eating ice cream and pasta. Only Sophie could make this sort of consuming look bewitching. Her little blue dog toy also makes an appearance.
Experience “La Dolche Vita” here:
Open note, finger-plucked guitar chords begin the introspective, Pink Floyd influenced sixth track “Tokyo.” Echoing a similar feel to the aforementioned psychedelic bands “Hey You” (from The Wall). Sophie's vocals are strong yet measured, delivering lines that fall somewhere between that city's reality and an imagined impression of what it might be like. Reaching the signature line “I'm with you and you're in Tokyo again” on the second pass through, has more instruments joining in. The mood shifts into dreamy, floating directions that feature ambient synths and active drum fills. An elevated section with lyrics “there's beauty here besides machines” lifts everything upward.
A peak mid-80's synth-pop feel permeates the celestial wanderlust (now there's an easter egg call back) of seventh song and second side album starter “Beyond The Universe.” Harkening back to that first synth-wave era that gave us A-ha's “Take On Me,” Sophie takes a sparser approach at first. Wafting synths are all you hear initially supporting a tale of weightlessness and stars. Soon bass guitar and drums enter in with the tracks insistent beat, as otherworldly keyboard lines offer counter-melodies. The “climb a little cloud, scale a little breeze” bridge provides a perfect segue to that magnificent full-bop chorus.
Uniquely textured synths and a “Be-My-Baby” Spector-esque drum beat lay down the sonic core of power ballad “He's A Dreamer.” Majestic piano chords support underneath a soaring chorus that speaks about trying “to see the world he knows.” A fascinating instrumental section feels almost improvised on the spot, with multi-toned synths playfully dancing back and forth between drum fills and bass guitar riffs.
A solid 4-on-the-floor beat, synth, piano and bouncy bass guitar establish musical parameters for the looking-glass scrutiny of “Reflections.” As much of a look-back as a gaze on the here-and-now, lyrics “through the lens the shadows refract until it's a memory” suggestively confirm this. An unexpected quicker-paced near spoken word section adds a sense of urgency to the lyrical content being delivered. Orchestral strings appear within the final minute, expanding the sound with an additional level of grandeur.
Rapid-paced tinkling toy piano introduces the synesthesia themed “Hearing In Colour.” That sensation where hearing sound induces visualization, can produce “joy” as well as “a feverish dream.” Applying major chords on the verse while using minor keys for initial choruses emphasize how overwhelming this level of sensitivity could be – especially when applied to a new romance. Tying the two parts together is a perfect bridge section that states “a million shades in the spectrum since you came.” The song resolves with a celebratory coda “calling my name” for an ultimate uplifting experience.
A deeper toned, slower version of that tinkly child's piano returns on subtle hip-hop grooved “Broken Toy.” The parallel between relationship breakup and “tossed aside” inanimate play thing runs against spacious ambience and yet-one-more keyboard texture of curious origins. Bass guitar stands out as the primary melodic counterpoint to Sophie's vocals on the chorus. However, it is her double-step delivery on each verse line (with the second one going) “but under the surface the heart has a purpose” that delivers the most endearing quality.
Final track “We've Been Watching You” has Sophie putting her own spin on the classic science-fiction narrative of outer-space Aliens. Having visited our planet, these “conscience of another kind” have chosen to save some of us to “start again elsewhere.” All good intentions aside, a repeated vocal refrain casts some doubt on the validity of this undertaking. Sophie presents it both ways: “you haven't quite lost your mind” she reassures. Then follows with “Or have you quite lost your mind?” Food for thought, indeed. With that, HANA comes to a playful conclusion, as Earth's fortunate survivors head out into the great unknown.
Previous Feature Review of Sophie on this site (including links to all other features) Here.
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One thing this site can count on is an
enticing pitch from frequently reviewed Burbank, California label
Big Stir Records. The currently much celebrated and promised summer
long roll-out of new recordings from fellow So-Cal pop-legends SPARKLE*JETS U.K hits all the marks for excited anticipation. Emerging with their first full-length album release in over 20 years, an expected multi-year plan of covers and originals is professed to unfold going forward. This initial step in the overall plan is something quite unique as it presents a 21 track double LP filled with covers of underground classics originally released by their friends and associates from the early aught Southern California power pop scene. Calling the record “Best Of Friends” underscores how they pay homage to a vital LA music scene that redefined the very essence of Power Pop at that time.
Without knowing hardly anything at all about the original artists recordings of these songs, a deep-dive review follows on what is heard in the here and now on THIS record. The album kicks off amusingly with someone sneezing, before launching into the 3 minute jangle-guitar driven “Hold On Tight.” Sweet vocal harmonies and precision placed drums+bass nestle securely alongside twangy guitar punctuation. It's Beatles-y in that way they would blend their pop with a tinge of country music. First single “He's Coming Out” is a joyous rave-up cover of late '90's/early 2000's LA pop heroes The Masticators. Intro'd by a singular chiming guitar, the band quickly thunders in with jingly tambourine and forceful rhythm section. Laying out a tale of “walking 'round the city” and “the people going mad,” additional points are given for the amusing lyric “he'll be puttin' on a different shoe – and he's got an electric guitar too!”
Check it out:
Next track “No One Rides for Free” builds off of an angular progression that shares space with heavier power chords. Interestingly with a similar key word in the title, this vocal rendition evokes John Lennon's on “Ticket To Ride.” “One Summer Sunday” switches gear to a more gentle “McCartney-esque” approach. There's pleasing minor chord change segments that also bring to mind elements of the band Chicago's huge pop hit “Beginnings.”
“Are We There Yet?” emphasizes female lead vocals to expand on that universal long-car-ride expression, applying it this time to an interpersonal relationship. Keyboards and strings add lushness to the production behind these impassioned vocals. Choral “la la's” provide a nice touch, bridging to male vocal response which includes more Beatles references via lyric “when you get to the bottom you go back to the top of the slide.”
There's a cheerful son-of-Beatles-Eric Carmen-in-Raspberries vibe on “Ludlow 6:18” Strong piano chord work provides solid underpinnings for the bright guitar, flam-drumming and vocal harmonies seamlessly woven together. “Battle Song” relies on rising step vocals that create a harmonious romantic feel, running against what it's title initially suggests. Once again, an early McCartney-through-followers like Badfinger feel is present throughout.
“I Want a Pony” bring back female lead vocals for this tongue-in-cheek bratty teenage wish list. Demands made via a chunky rock and roll chugger - “pony up” indeed! Bass guitar steps forward on the euphonious “Till We Meet Again.” Punchy rhythmic changes handled by those essential rock fundamentals of guitar, bass and drums drive everything towards exuberant high vocal harmonies.
Clocking in at 5 minutes in length is the album's longest track “Come Down Now.” A piano ballad featuring female and male vocals in a call-and-response duet, a sense of reverence is felt with the repeated vocal-hook “a Church Song.” Additional lyrics “come down now – remove your bandage – so I can see your damage” is as much about revelation than any sort of salvation.
There are many more wonderful songs included in the 21 here on this double LP. Among them are two other "focus tracks" that really stand out.
“Another Myself” emerges out of an angular pizzicato plucking on guitar strings before more chunky (and funky) chords join in. It bears similarities in both vocal tone and song structure to that twisted-prog-funk King Crimson did with Adrian Belew singing. Other elements surface in the guise of wacky Zappa-like “la la la” background vocals and seemingly melody lifts from “Paperback Writer” (or is that Paul's “Jet?”) There's even a touch of George Harrison's slide guitar sound on a madcap instrumental foray.
“Mahnsanto” takes everything in another direction, with it's mechanized structure and motorik undercurrent. A trip to the Carnival feel pervades while managing to straddle a modern times glitch-pop vocal arrangement on the verse. The chorus hook is another thing entirely, with the title word repeated like a siren call, followed by a plea to “come back to me,” promising “I'll wait there.” Churning rhythms and chugging guitars lay a bed for tasty lead lines to float over. Everything comes to a momentary halt (with brief bubbling synth interlude) – before lurching once more into the battering, beautifully harmonized chorus.
The full album is out on Vinyl, CD and all streaming services on June 30.
The music of Sophie Ellis Bextor has been featured here at DaveCromwellWrites for the entire ten years of it's existence. However, initial interest in her recorded works and live appearances pre-dates the creation of this site by eight years. In 2001, official website forums served as the gathering place and proving grounds for ambitious writers and excited fans alike to discuss their best-loved artists. At that time Sophie was enjoying rising popularity in her home country England as well as throughout Europe and Australia, riding a wave of back-to-back hit records, “Groovejet” and “Murder On The Dance Floor.” Appearances on the legendary long running music show Top Of The Pops (frequently shown in the USA on import channel BBC America) helped to create pockets of loyal State side overseas fans as well.
Now in 2019 the time has come for Sophie to look back on her storied career and celebrate it with her greatest hits album “The Song Diaries.” Not content to simply cobble together a collection of the already recorded tracks that typically constitutes a “greatest hits” album, Sophie embarked on a bold journey of re-recording every song from scratch and placing them in an orchestral setting. That ambitious undertaking resulted in 15 chronological order hits spanning from the very first solo single through all six of her studio albums (this now being her seventh) along with four bonus tracks encompassing significant historical reference points and/or enhanced alternate takes.
Once again enlisting the services of Ed Harcourt on production (along with husband/bassist Richard Jones and David Arnold), the Amy Langley lead string section (once dubbed the "Dirty Pretty Strings") provided the bulk of instrumentation and arrangements.
Opening the record with her very first massive hit single (a collaboration with DJ Cristiano Spiller), “Groovejet” (Orchestral Version) places immediate emphasis on Amy Langley's string section and deep toned kettledrum punctuation. Sophie's original lyrics (she's always been a prolific lyricist) commence after just 15 seconds of intro (it was :25 on the original) with the familiar lines “Holding you closer, it's time that I told you, everything’s going to be fine. Know that you need it, and try to believe it, take me one step at a time.” The newly recorded vocals (we are talking 19 years later, people) display a warmer, more intimate style of phrasing (a richness borne no doubt from singing it live for that many years – and truly owning it) while retaining the sweetness of the original. Arriving at the “hook” that locked down it's number one position in the UK, New Zealand, Ireland and Australia, (as well as charting at number three on the American Hot Dance Chart), that original Sophie lyric "And so it goes... how does it feel so good?" subtly reworked by co-writer Rob Davis as "If this ain't love... why does it feel so good?" now comes with backing enhancements of flutes, trumpets and the propulsive rhythmic string section. The pivotal bridge section “will you remember me boy? Remember me loving you” benefits from brightly descending violins and a more passionate vocal rendition (complete with trailing “ooooh ooooh's) than on the original. The final minute places further emphasis Sophie's fuller reading of the words she originally wrote, now re-imagined in a symphonic setting. Trimming nearly a half a minute off the original (with extended mixes going much longer) has the track clocking in at a precise 3:20.
Seventeen seconds of rising violin melody and bass-cello counterpoint introduce the orchestral remake of Sophie's first completely solo single release, “Take Me Home.” Although technically a cover of Cher's 1979 US hit version, Sophie (ever the creative writer) had reworked and added her own lyrics to to the August, 2001 first single release off of her stunningly successful debut album “Read My Lips.” Her brand new vocal performance here is a thing of beauty, eliciting once again the sensation of warm invitation initially experienced on listening to the original recording. Subtle changes emerge via added flutes and echo-response background vocals. Certainly the years of performing this song frequently has aided in her current nuanced delivery. Not surprising as we all improve our skills over time (when one puts their mind to it), and there is no doubt that Sophie sings better now than she ever has. It's also a magnificent composition, and kudos to the original writers Bob Esty, Michele Aller for giving their blessing (and more importantly, permission) allowing Sophie to rework this song as her own. The fact that Cher objected to Sophie's version (but had no say in the matter since she wrote none of it), finding the additional lyrics “too overtly sexual” is hilarious (and rather hypocritical) when viewing THIS performance of the song. Further, Sophie's more impassioned vocals here just might be a subconscious (over time) reaction to critics who snarkily described the original vocals as singing “with the breathless detachment of someone getting a massage from a lumberjack” and as a "pleasant enough song", though the (original) production and vocals "more tired than sexy.” A nice touch is delivered at the end of this new version with those tinkling, descending melody lines re-imagining what was on the original. Clocking in at 4:23, Sophie has no problem pushing song lengths, with 6 of the 19 tracks all going beyond four minutes.
Choosing to collaborate with American songwriter Gregg Alexander proved to be a brilliant move on Sophie's part as it produced her biggest song of all with the international hit “Murder On The Dancefloor.” In fact the song is reported to have been the most played song in Europe in 2002. Would love to learn more about how Sophie and Gregg came together for this one. Making a name for himself in his teen years (much like Sophie did with her first band TheAudience) Alexander scored an international hit with his band The New Radicals and the song “You Get What You Give” in 1998 before quitting the performing side to focus solely on songwriting and production in 1999. This would lead to a perfect partnership with Sophie and the creation of her all time signature song. This latest recording finds Sophie infusing the same level of playful joy in her vocal performance that made the original so appealing. Having a bit of fun with what could be seen as a “dark theme” (we ARE talking about “murder” here) and weaving in clever word play (“you better not kill the groove”) instead. Sparsely plucked strings behind the verses allow the vocals to stand front and center, where the improbably successful “and so and so and so and so” lines continue to satisfy after all these years. Reaching the chorus that has delighted now for nearly two decades, clever use of castanets dropped into the space where Sophie's “foot stomps” occurred in the video, (which became the preferred audio version of choice) is just one delightful percussive touch added to this orchestral version. Second time through finds the plucking strings moving in double time behind the verse. A chugging percussive pulse emerges behind the second chorus, giving it all an almost American Western feel (like something out of a 70's Clint Eastwood movie – which were actually made in Italy – but that's another story entirely). Adding to that feel is a Spanish guitar interlude that emerges as a surprising addition to something dubbed “orchestral.” Sophie's vocal performance here is light and airy with a playful quality overall.
The next “Read My Lips” single Sophie chose to go with was a slight curve, selecting “Move This Mountain” (which was a UK only double-A release in June 2002) instead of the rest-of-the-world release “Get Over You.” That choice, however becomes more clearer when applied to the current orchestral setting, where it makes more sense. A single bell chime (like what you would hear in a town square) and deep, reverent strings intro this latest version. Sophie's lyrical reading takes on a more earnest, questioning (and confessional) approach. Much like the original, however, all of that is put aside for the confident, can-do chorus that states “I can do anything that's put beside of you, and I can move any mountains that you make. I'll lift you up and my back will never break, and I can move this mountain.” Deeper cello tones dominate the sonic palette underneath verse lines, making way for uplifting violin enhancements on the bridge “Oh, do you know? I would have done anything for you.” Dramatically dropping out for the unencumbered “take this chance, I won't repeat this” line. Somber vocal choirs fill in behind the second chorus, giving this new rendition a similar feel to the work done on her “Russian” album (“Wanderlust”).
Working once again with co-songwriters Gregg Alexander and Matt Rowe, Sophie delivered her fourth and final single from debut solo album “Read My Lips,” the uplifting “Music Gets The Best Of Me.” Returning to deep and bassy cello's on the intro for this updated recording, Sophie's vocal line matches the original until an additional voice backs the word (and enunciation) “stron-ong.” Sweeter violins accompany a chorus which also benefits from in-tandem backing vocals. The second verse comes similarly situated, now with the vocally extended keyword “star-art” receiving emphasis. A delicate touch of violins provides a rising (then falling) hook in between chorus lines “music gets the best of me” and “guess who gets the rest of me.” Angelic plucked harp strings emerge as the surprise instrumental accompaniment behind the bridge that goes “Oh, my baby, you know you make me smile. But it's the music we're making, that's really driving me wild.” Where that last word on the original was boldly sung out in high volume, this orchestral version has the word “wiiiiild” delivered soft and gently, against delicate strings. Further lines “I can't help it baby (Come on, come on, come on, come on)” are echoed through actively enmeshed string movements.
Moving on to the always more challenging second album “Shoot From The Hip,” Sophie includes just one song from this collection, it's first single “Mixed Up World.” Choosing one more time to team with the songwriting team of Alexander and Rowe, Sophie weaves a tale of confusion and frankly, depression – before reminding herself that's she's actually tough enough to handle it. This orchestral version leans heavily on a classical music vibe, with trumpets providing hooky “licks” that usually are played on guitar. Sophie's vocal performance is rich and vibrant, delivering those warm textures that initially captivated on the original. The necessary call-and-response backing vocals are there on the pre-chorus, imploring “don't cry,” “stay high,” and “don't hide.” The chorus comes complete with appropriate matching backing vocals and soaring violin melody lines over top. Original track melody lines are also accurately reconstructed via chugging strings and precisely placed trumpets. A rising, swirling orchestral uplift accompanies the “don't wanna hurt no one” end-out.
Selecting now from her third album, 2007's “Trip the Light Fantastic,” the debut single “Catch You” is certainly worthy of “greatest hits” designation and inclusion here as an orchestral remake. A rare single of Sophie's where she was not involved in any of the songwriting. Her label at the time – Fascination – and/or her management team, enlisted another former pop-star hitmaker in Cathy Dennis to compose this song for Sophie, with capable assistance from producer Greg Kurstin and additional songwriter Rhys Barker. The original track peaked at No. 8 on the UK Singles Chart. Chugging, Beatles-esque (circa “Eleanor Rigby”) cello strings provide the introductory rhythm on this latest version. Sophie's impeccable diction stands out even more now against this string background, as she re-tells this fictional tale of romantic surveillance. Reaching the chorus (and hook) of “Run to where you want, run to where you want, I am gonna find you. There ain't no distance far enough, my love's gonna find you,” has the chugging cellos dropping out for sweeter, higher-register strings that soften the somewhat stalkerish nature of the verses. Subtle instrumental touches like distant cymbal woooshes and French Horns add pleasing textures on subsequent choruses. The bridge that begins “why waste your energy?” comes recited over fluttering, angelic harps, allowing Sophie to inject a more affectionate delivery of these lyrics. Reaching an emotional peak with Sophie's inherent sweetness shining through on the lyrics “let your heart surrender to your destiny (where “destiny” is sung both softly (the first half of the word) and full throat-ed (the back half). These are the moments that encapsulate Sophie's enduring appeal. The ability to take *one word* and infuse it with both her positive outlook personality and impressive vocal skills.
The second single release from “Trip” saw Sophie back in her familiar co-songwriter territory, this time collaborating with another hitmaker and vocalist Hannah Robinson (who was responsible with producer/songwriter Richard X on a particular fave - “Some Girls” - a big hit for Rachel Stevens in 2004) on “Me and My Imagination.” Hannah appeared to be the perfect foil for Sophie, going on to co-write many other excellent songs with her and providing backing vocals as well. Producer Matt Prime also shares songwriting credit on this song, which reached No. 23 on the UK Singles Chart. This new orchestral version serves up the melody via pizzicato plucked strings alternating with extended note violins. The lyrical story of needing coy games to remain interested in the “romantic dance” (e.g. - popular girls problems) is delivered via a syncopated, counterpoint rhythm between voice and backing instrumentation. The chorus is more straightforward with the instructions of “try to keep me entertained” and to “make it hard for me” which is almost jaded when reading the words as written. It's the literal opposite of Billy Joel's classic song (I Love You) “Just the Way You Are” which states “I don't want clever conversation, I never want to work that hard.” However, Sophie sweet rendition and cheerful delivery turns something that could be misconstrued as coming from someone who constantly needs to be “entertained” it into something far more benign.
The third and final single released from 'Trip' was the hauntingly beautiful “Today the Sun's on Us.” As a single release, this was Sophie ever so gently attempting to broaden the scope of how she would be perceived. A gorgeous ballad with actual *sincere* lyrics, it was risk taking that would be a harbinger of things to come (many more ballads and in fact, the premise on how *this current* album was made). While the verses merely exist to set the story in motion, the bridge and chorus are what sends chills up and down your arms. Because embedded in those two sections are fantastic melodies and true emotionally charged lyrics that rise to the point of, well “magic” (what Sophie was seeking on the demanding “Me and My Imagination,” but actually achieving here in this more honest awareness). With a tandem voice behind her on this chorus of this new version, insightful statements “don't you fear, what will come” because “right NOW – we're in the sun.” Things are good. Maybe even great. Stop worrying about all the little awful things that COULD (and frequently do) happen. “Don't let *today* get lost." There will be plenty of real trouble that happens, and you'll be forced to deal with it. When things are going good – enjoy that moment. Kudos to Sophie for her unique diction on the words “fear” and “what” (back to back in the second chorus). Those little details are what makes SEB unique and an artist like no other. A gentle rendition of the bridge section that concludes with the simple question “will you be by my side through it all?” ushers in a perfectly understated pizzicato string arrangement. Inventive “ahhh ahhh” background vocals and counterpoint choir take this near-perfect song to conclusion. Co-songwriters Steve Robson and Nina Woodford deserve special mention and kudos for assisting Sophie in bringing this vision to life.
Moving on to her fourth studio album “Make A Scene,” first single “Heartbreak (Make Me A Dancer)” emerged as a dual release between Sophie and English production duo The Freemasons (James Wiltshire and Russell Smalls). Songwriting credits were shared equally between all three as well as the inclusion of Richard ("Biffco") Stannard. It was a pretty successful hit for each of the separate artists albums, with some decent play in the USA. Reaching No. 1 on the MTV Dance Chart, it remained there for 13 consecutive weeks. Additionally, Sophie actually performed the song live (along with others) in New York with The Freemasons, and one lucky writer was able to chronicle that event here. This latest orchestral version employs the lushest string arrangement yet on this new album. Replacing the electro-pop nature of the original, a far more dramatic reading is given to this lyrical content. Higher register violins and fluttering harps provide the predominant musical accompaniment, allowing for vocal emphasis in other places this time around (“And – with – each – step! - - I – will – for-get”). The climactic instrumental rise leading into the final chorus builds to an explosive conclusion.
Another dance floor success and third single from Make A Scene selected for an orchestral remake (and greatest hit designation) is the wonderful “Bittersweet.” Adding Hannah Robinson again to the songwriting team (which included the three others who helped shape “Heartbreak”) succeeded once again in creating a universal theme most anyone could relate to. All relationships it would seem, have some 'bittersweet' elements to them. As one might anticipate, the orchestral elements are less propulsive, providing an almost melancholy counterpoint under Sophie's vocals. After the second chorus on this new version Sophie immediately (without any break at all) seques into her “oh, woah, whoah, woah – so here I am” bridge section. This overall more solemn reading of what was originally an (obviously) more boisterous dance song doesn't really temper (much) the physical references of the it's lyrics. Name-checking “desire” and “craving the heat” there is a level of “body curiosity” that leans more towards “sweet” than anything “bitter.”
Completing the “Make A Scene” triumvirate for this album, Sophie includes her fourth single release that year “Not Giving Up on Love.” Designed as a collaboration with Dutch Producer/DJ Armin Van Burren and co-written with Australian sisters Olivia and Miriam Nervo, it is the lyrical sentiment that has stood the test of time. The you-and-me-united-in-this-world theme - “just the two of us" creates an emotionally powerful narrative. "And if it all falls down," well, it just doesn't matter. "Nothing else matters" because "I know were strong enough," and I'm also not going to quit on us. A delicate approach is taken with the orchestral violins woven around Sophie's opening verse. That similar lighter touch is also applied on the choruses, opting for a more wistful approach as opposed to the boldness of the original. As the song progresses, the intensity rises on both the orchestral elements and Sophie's vocal presentation. A final half minute of gentle violins provide a delicate ending coda.
Moving on to her fifth studio album “Wanderlust” (which could also be called her “Russian album”), lead single “Young Blood” was the first song establishing her next stylistic phase (as a more mature, Adele-esque vocalist) and beginning the Ed Harcourt co-songwriting and production partnership. In fact you could pinpoint this song as the genesis for the style of this current album. It served as a “comeback success” of sorts for Sophie as it was her first single to enter the UK Singles Chart since 2011's “Bittersweet.” It peaked at No. 34 on the UK Singles Chart (spending three weeks there) and at No. 3 on the UK Indie Chart, making it her fifteenth best-selling song in her home country. This current orchestral version employs an oboe as the initial dominant melody source. A wistfulness is felt in Sophie's vocal presentation, as violins churn earnestly behind. Looking back at the passage of time spent together is “all okay” because of what is continually shared each day. It's like the ending storyline in the film “Inception” - where the central couple (DiCaprio's “Cobb” and Marion Cotillard's “Mal”) spend 50 happy years together – three levels down in their dreamworld. The dramatic pause in this current version – just after the final line of “there'll be a day to take the best of us” provides a nice touch, that ultimately leads to that opening oboe returning as outro bookend.
One more from the “Wanderlust” SEB/Harcourt team, “Love Is a Camera” served as the third single off that album. Presented to hot adult contemporary radio in the UK, it reached No. 32 on the UK Indie Singles Chart. It's 1-2-3 waltz time signature appears a perfect match for an orchestral setting, with strings and oboe providing counterpoint and melody, respectively. Lyrically one of Sophie's more literary (and literal) works, the tale of camera imagery as imprisonment device is both clever and more than a bit macabre. That wonderful hook still dazzles, via the sweepingly grand “Stand still evermore, Pose for eternity with me” chorus. The power in this version comes from Sophie's commitment to and narration of this elaborate story. The image held in a tomb-like monument (“centograph”) fulfills its owners need. Her final two recitations of the word “memories” are both different from the original version and from each other. That changes the overall tone to something far less sinister, adding warmth. The final :40 seconds is allotted to a climactic orchestral denouement.
Selecting one track from her sixth studio album “Familia” (which could also be called her “Mexican album”) and second consecutive partnership with Ed Harcourt, third single release “Wild Forever” earned this orchestral re-arrangement treatment. Somber strings and tender piano convert this former bubbling pop tune into a more ardent revision. Those three sharp descending notes associated with chorus lyrics “we shouldn’t fight the way we feel” and the three before “when it comes from somewhere real” are now delivered by tandem violins. Sophie delightfully still goes falsetto on the line “a garden always in full bloom.” The joyously repeated chant of "we just have to surrender" justifiably remains, however eliminated now are the background vocals “Runnin' wild,” and “Wild forever”) on the final chorus. A single trumpet provides perfect accompaniment along with strings on the “we just have to surrender (we know, we know)” end-out mantra.
Including a bonus track taking Sophie back to her very beginning as a recording artist, the Billy (Paul) Reeves penned “A Pessimist Is Never Disappointed” serves as an acknowledgement to her earliest days. As the 19 year old lead vocalist (and image) of britpot band Theaudience, this third single release from that bands debut album peaked on the UK Singles Chart at No. 27. Sophie has been performing this song from time-to-time over the years at live shows, so it made sense to include it here as an orchestral remake. Low note cellos and pizzicato plucked strings introduce the sonic entry point for this updated version. Sophie's rendition here is note perfect, including all the “charm” alluded to in these almost too-sophisticated-for-pop music lyrics. Reeves was certainly a gifted songwriter and one wonders what he could have accomplished if he had gone as hard at it as, say someone like Gregg Alexander (or for that matter, Sophie herself) has. Nevertheless, THIS song is still a marvel after all these years, and would have been the perfect lead song to any of the numerous “coming of age” Hollywood movies that have come out over the last 20 years.
Moving away from the entirely orchestral offerings, Sophie steps back to 1977's disco-soul era and covers the Carol Williams hit “Love Is You.” That original track, in fact, was sampled by DJ Spiller and served as the instrumental bedrock around which their first hit together “Groovejet (If This Ain't Love)” was centered on. Written by Vince Montana Jr. and Ronnie Walker, Williams provided the vocals for the Salsoul Orchestra and similarly named record label. Sophie's version adds hammering snare drum to the percolating percussion that provides the songs rhythmic sway. Along with the swirling strings that typified the soulful disco of that period, funky guitar textures mirror a sound heard on both the original “Groovejet” as well as “Murder On The Dancefloor.” In the early 2000's Sophie clearly knew the sound she was going for. The current track features warm vibrato vocals that instantly make it less cover and more all her own. Most impressionable lyric: “cause you touched me - and I saw - God's own heaven.” An elegant trumpet interlude leads to full chorus background vocals.
Offering two additional Bonus Tracks, “Take Me Home (Orchestral Disco Version)” offers up an alternate version with added percussion and chunky-funky guitar in it. The bass-line now figures more prominently on this go-round, providing that “disco” feel advertised in the title. Background singers dive into the fray, supplying call-and-response echoes of Sophie's repeated offer (and title line). “It's only fair I get my way” and “it's gonna happen anyway” - we hope! “Don't pahahaaas me byyyyyyy” - as if! The bass guitar really steps up under the “let's make a move – let's leave this world behind” segment. Additionally, a wah-wah guitar break ushers in the bridge that goes “in this moment, one night with you – all alone, with nothing to lose.” A singular tasty guitar lick emerges, riding this one out to it's conclusion.
The final Bonus Track (and final track overall in the sequential Spotify playlist) revisits “Murder on the Dancefloor” only this time with an “Orchestra Disco Version.” There's no immediate “disco” heard on the opening strains, however, as violins in both low and higher register slowly emerge into the audio field. A distant vocal chorus breathlessly declaring “Mur-dah!” enters the mix as Sophie recites those memorable opening lines. “Disco” is quickly achieved, however by adding a 4 on the floor pulse beat underneath those sparsely plucked strings behind the verses. Also new to this version are rhythmic high-hat cymbal strokes on the delightful “if you think you're getting away” pre-chorus. The traditional drum set emerges further on the full chorus, providing more solid propulsion under those castanets that enhanced the first orchestral version. It feels like a bass guitar may also be ever-so-subtly anchoring the song now as the track proceeds forward. Those additional bass guitar notes are placed with minimal efficiency, carefully preserving the overall orchestral feel. When the Spanish guitar interlude hits, it feels all the more startling, as beats drop out momentary, before kicking back in with that obligatory dance-floor heartbeat.
All songs copyright EBGB's LLP under exclusive license to Cooking Vinyl Limited
This album can be acquired and experienced via all the latest ways shown above and access to those choices can be found via this single handy link.
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Check out this 15 minute compilation showing clips of Sophie performing with a 30 piece orchestra and her band live at the Royal Festival Hall in London on Wednesday 3rd October 2018, as part of The Song Diaries Tour, which continues in June 2019.
It has been more than two and a half years between albums for iconic British singer Sophie Ellis Bextor. That wait has been rectified with the release of her sixth studio album “Familia.” Returning to the creative team that helped bring life to previous Top Ten charting record “Wanderlust,” the latest album once again reflects a unique and fruitful collaboration with producer Ed Harcourt. Sophie and Ed have taken their abundant talents to another level here with these eleven songs, exploring new wide-open vistas for the singer to branch out and shine on.
Along with Harcourt providing piano, synths, samples and various keys, Richard Jones of veteran British pop band The Feeling (and Sophie’s husband) played all the bass guitar (figuring prominently on many tracks), with Seton Daunt on guitar and Phil Wilkinson on percussion. Also back making significant contributions are the Dirty Pretty Strings (Violins: Gita and Rose Langley, Viola: Amy Stanford and Cello: Amy Langley). The album was recorded at State of the Ark Studios in London, mixed at Decoy Studios and mastered at the famed Abbey Road. Released via her own EBGB label, worldwide marketing is being handled by Red/Essential. All album photography and initial video work coming by way of the masterful Sophie Muller.
A swirling synthesized reedy flute pattern kicks off opening track “Wild Forever”against metronomic clock-click percussion. Clear acoustic piano chords cut through and establish deeper bass textures as Sophie begins her vocals. “There’s a look in your eye – that says you want to be carefree tonight – just like in days gone by – when we were wild.”
The click-time rhythm and synths give way to full band dance groove on a bridge build-up where Sophie proclaims “Why be so ordinary? Why just conform? Let’s rip the night in half and forget it all. So keep the engine running, under the stars. I feel release is coming, tonight it’s ours!”
Chorus:
Three sharp descending notes:
“We shouldn’t fight the way we feel “
Three more notes, but move in a slightly altered direction
“when it comes from somewhere real.” Background vocals mirror the three accent notes ("run-ning wild”) with an emerging bass guitar driven pulse. Sophie goes falsetto on the line “a garden always in full bloom” before returning to middle-toned voice “That’s how I think of me and you”
(Background “running wild”)
“but if escape is what we need – when it comes to you and me” - “we should just surrender” (punctuated by defined drum shots and stately piano chords) – to the ultimate defining line - “stay wild forever.”
Briefly returning to the intro, the second verse finds the piano playing a more active, descending progression beginning with the lyrics “it’s like a secret we hold.”
At almost four-and-a-half minutes in length (which turns out to be the average length of nearly all the songs on this album) there are more than a few wonderfully unexpected moments. Like the joyously repeated chant of "we just have to surrender" while mad synth twiddles over it all. Sophie is heard in one of the “making of the record” videos put out before it’s release describing the music on this record as “bonkers psychedelic pop.”Wild Forever delightfully fits that description.
A deeper drum pattern and distinctly plucked guitar notes introduce “Death Of Love” as buzzy synths shimmer underneath. “Streets of SoHo where - we escaped to - take a moment - in slow motion” Sophie proclaims. “Sit beside me and - let them hurry – the city waits for no one” she continues, but then the vocals double and ceremonious guitar chords strum as she sings “but in my mind we’re king and queen – you make the best of everything – and in our fragile kingdom – we’re always singing – an endless melody (with the end note held out on the deeeeee)
Leading in to a gorgeous chorus that goes “Every sunrise leads to a sunset – fruit must fall from branches, and they’ll be centuries for other lovers – but not for us.” The beauty of this section (besides the glorious overview of life lyrics) is how it’s powered along by the deep thumping drums and upward pulsating synth textures.
“But what we created – it cannot be undone. You know it lives on”
To the songs highest point (both vocally and emotionally) – “It’s not – it’s not the death of love” (repeated twice) enhanced by additional double-time cymbal percussion.
“So you walk through the crowded chaos” Sophie continues as chunky guitar figures enter the mix. “There’s a comfort, waiting for us." Sophie has stated in interviews that this song is about how the love you create lives on after you've gone. Therein lies the comfort.
The magical chorus returns, this time with background vocal enhancements sounding like the trumpet herald of angels. An unexpected drop back in instruments leaves Sophie’s voice out front in ethereal layers over cymbals and drums. Chunky guitar figures return before leading it all back to the lush chorus once more.
Three distinct piano chords establish the essential structure of “Crystallise” as Sophie delivers opening lines “waiting for a lifetime.” As ‘ticking clock’ percussion marks out time, she continues “Like you're carved from the mountain.” One – Two – Three – go the piano chords – “sometimes I stand like a statue – waiting to surprise you”- which immediately leads to the bridge:
“and when it comes - and what it does” (with bass guitar taking over as this seconds driving instrument) “is nail you down, you cannot swerve – you’re not the last, you’re not the first to sometimes lose your nerve.”
To the big chorus: “You don’t need to try – hard. You don’t need to wise – up” The arrival of Sophie and Ed’s go-to string section adds deeper hues to the proceedings. Specifically the emotionally-charged Cello work by Amy Langley. “It all becomes clear as day,” she continues. “So Crystallise – love.” Sweet guitar and piano textures coalesce as Sophie continues “it’s been sleeping since day one – trapped in your subconscious. Scheming for the moment [sung in higher register and with more force] – when you stop feeling cautious” once again leading immediately into the bridge.
Doubled vocals this time on the lines “you’re not the last, you’re not the first to sometimes lose your nerve.” In addition to the lush string section, there is now a rising gentle piano figure put in motion.
A surprising Pink Floyd-ian extended-note guitar form briefly floats in space before the final chorus. That final pass through finds Sophie layering in alternating background vocals with dramatic tambourine/sleigh-bell shakes. The final seconds have all the instruments dropping away still only the live-in-the-studio drums remain.
The introduction of Nick Etwell’s trumpet on “Hush Little Voices” is significant in creating a cinematic Ennio Morricone/Sergio Leone “Spaghetti Western” vision of the mythical west. Tambourine jingles feature prominently amid the familiar instrumentation of bass, piano, guitar and occasional “bonkers/psych” synths. Sophie’s clearly enunciated vocals have less to do with South-Of-The-Border conflicts but rather the bothersome thoughts that keep you awake. The chorus appears to serve a dual purpose as part lullaby to needlessly worried children, while subtly revisiting deeper subject matter first explored in the song “Party In My Head” from 2003’s “Shoot From The Hip.” In interviews Sophie has stated this could also be the witch from "Love Is A Camera" on Wanderlust who souls were taken via images held in a tomblike monument (“centograph”), who has now been driven mad by all the souls she's captured.
Making extensive use of the Dirty Pretty Strings on “Here Comes The Rapture,” Sophie creates a chamber music atmosphere comparable to Kate Bush’s “Cloudbusting” (from her From her No. 1 1985 album Hounds Of Love). However, there is no attempt to add any layers of percussion here as the string section provides the only musical accompaniment. In that regard, The Beatles“Eleanor Rigby” serves as a more accurate resemblance.
Poetic, sweetly sung lyrics describes that moment first encountering the one you were meant to be with. Using metaphors of “towers” on “borders” and surrender (“give ourselves up”) puts a castle siege twist on affairs of the heart. Reaching the angelic chorus, the double edged meaning of “rapture” signifies both ecstatic delight and being transformed to another sphere of existence.
With subsequent lyrics making further comparisons to “rernaissance” and “art,” it is the bridge once again that hooks you in. This time “mountains” replace those border towers as “bells are ringing out your name.”
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First single “Come With Us” is placed at the halfway point through the album. The straightforward snare and bass drum stomp pattern is quickly joined by funky guitar licks. Touted as a “return to disco,” the feel seems closer to late 70’s rock bands that specialized in funk (like The Average White Band) or occasionally dabbled in it (The Rolling Stones). While Sophie sings what at first appears to be a call to “come with” her “no matter who you are or *what you see* (though lyric sheet says “where you’re from” – possibly changed during recording because it sounded better?) a more wary meaning is soon revealed.
The chorus makes no doubt about the clarion call intentions stating “if you give us all your money we’ll give you your dreams.” How it’s an illusion of “soft focus” imploring you to “release control” and become “lost in a fantasy – ‘til your soul is lost.” That is some pretty damning commentary on advertising and the profit-driven promises offered. Like many good songs, “Come With Us” can be interpreted on a number of levels. If you want to be seduced by a “welcome to the family” greeting – presented with believable charm by Sophie in both voice and video imagery - that daydream is there. However, one would be foolish not to be suspicious of lyrics “in a hazy frame of mind you’ll believe this stuff.” Sophie has been quoted as saying this song is “about the lure of a cult,” whether that be Jim Jones impoverished Kool-Aid drinkers or the wealthy followers of Scientology.
Instrumental interludes, guitar solos and breakdown with Sophie delivering signature “ooh, ooh, aie ya’s” over “Groovejet” style deep tom-tom percussion and funky guitar riffs lead back to the promised-land chorus. The cultish lure of “living a fantasy under electric stars” ultimately becomes a choice of what (or whom) to follow.
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A basic straight-forward drum beat is juxtaposed against mechanical hand-claps and extended note synths before deep bass guitar establishes the progression on "Cassandra." Sophie turns to Greek Mythology for her lyrical inspiration here, channeling Cassandra princesses of Troy. The “snakes in your red hair” allow her to listen to the future, but that gift from the God Apollo becomes a curse. As a result of her spurning his love, no one believes her predictions. It’s a classic story that Sophie puts her own spin on. With the lyrics “putting the blame on the girl,” “I believe in you,” they think it’s a lie you told (but why would you need to)” and “if I could just sit with you, we two could conspire,” and “make them listen,” there’s a sense of a modern female solidarity. The final minute features rising celestial vocals, rain-tinkling piano and thundering tom toms that build to a dramatic crescendo.
Returning to the “bonkers pop with a bit of psychedelia” approach, “My Puppet Heart” delights as one of the albums most lively tracks. Over sound effects evoking factory machinery gone slightly awry, the vocals start almost immediately. Clacketty-stick percussion, oddball foghorn and piano runs counter to Sophie’s first verse vocals, while the bass guitar faithfully mirrors her melody. All suddenly changes on the next hooky bridge section where vocals starting with “you lift me up and I’m enlightened” are propelled by military-style snare drum rolls, with each line punctuated by deeper voiced chorus of “hoooh!” The dreamily repeated “When I’m with you” line leads into a big chorus depicting how the puppet masters “hand” has “synchronized” control of her heart. There is a delightful joy in how the instruments drive it all along, rising to accent “hold – ing tight” until giving way to a somber cello-led string section. Further sonic surprises come on the third section change where she sings “it’s so beautiful to just free-fall.” Fittingly the tracks final moments are squiggly sounds of indeterminate origins that imply a tape reel spun out of control.
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A heartbeat-like singular bass drum thump with dueling electric keyboard and guitar figures usher in the ballad “Unrequited.” The pensive tale of yearning love not returned by another ultimately points to the question “Now ain’t that the craziest thing?”
The overall mood is like a balladeer singing her heart out in some 19th Century Old West Cantina.
Once again the Dirty Pretty Strings feature prominently behind the vocals, providing a level of pathos unattainable by traditional rock instruments. The big surprise is a vocal turn from Nada Surf’s Matthew Caws, who arrives after the songs midpoint, providing counterpoint and possible solution (“dance on your own in the light”). The final chorus is sung as a duet, and their voices blend well together.
An oddly jagged synth pulse provides the initial impetus for “The Saddest Happiness.” Majestic strummed guitar chords accentuate ethereal “ooooh, ooooh, ooooh” background vocals. Subtleties like the emergence of full trap set drumming halfway through the first verse’s third line (“it’s hard to feel the highs”) shows nuanced attention to detail. The first change moves from mechanized synth-bass to bright ride cymbals and ceremonious piano accompaniment. Sophie’s lyrical content and vocal performance are sweetly tinged with a plaintive air. Bass guitar and chamber orchestra strings provide the driving musical force behind Sophie’s vocals on a chorus where “the saddest happiness” is a “friend” that is like “the needle to the groove.” The emergence of double-time vocal cadence (“rich is the man with a love to treasure”) and mysterious Spanish spoken word segment indicate the freeform possibilities within a self-directed recording environment.
Muted acoustic guitar chords, deep cajon drum and shaker percussion under prominent handclaps furnish the sonic foundation for the albums final track “Don’t Shy Away.” Perhaps the most purely cinematic track on the album, a southwestern feel emerges once again in both sound design and lyrical content. There are “mountains,” “birds overhead,” needing to “cross the valley” and “walk in the blazing sun.” With Flamenco-style guitar moving to the forefront and the lyrics “he’s waiting there for me, this runaway bride,” the doomed wedding scene in Tarrantino’s “Kill Bill” makes an excellent visual comparison. Although Sophie has also stated in interviews that this poetic "runaway bride" is a poetic return to the one in Wanderlust's "Cry To The Beat Of The Band."
The chorus and subsequent musical intervals reinforce the damsel “yearning” for “all that we dared to dream” in a world of new frontiers. An unanticipated post-chorus halt slowly builds tension around the repeated line “Won’t look back again.” As that repeated mantra rises with conviction on each pass through, a mournful harmonica wail echoes through this big sky landscape. The majestic sonic coda – evoking pioneers riding out into the sunset (punctuated by stuttering drum fills) serves as a more than fitting end to this album.
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
