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Starry
Eyed & Laughing's musical development has been, on the whole, fairly
smooth. They eased themselves out of the doubtless enjoyable but
dangerous 'Byrd copyists' (the music press' phrase-not mine) situation
at just right time and went on to prove that they were more than capable
of writing very good melodic songs themselves. Their debut album,
released last year, was very impressive, although the group themselves
have reservations about it. 'We
found that driving to the studio in the morning, recording during the
day, and then driving home again wasn't really the ideal situation,
especially if we had played the previous night' recalls lain. The
experience gained in recording that album obviously proved invaluable
when in April of this year the group moved down to Rockfield studios in
Wales for two weeks to start work on their second album. Two weeks
rehearsals before the journey down gave them an idea of what they
wanted, but it was mainly the vastly different environment in which they
were recording that aided the progress of the album. Tony has no doubts
about the excellence of the studios: ‘It must be the best studio in
England because the conditions which you are recording under are so
ideal. The living area is right next to the studio itself, and so if
it's
not happening in the studio you can just walk out and go and make some
tea or something.' The result of the group's efforts can now be heard on
'Thought Talk', which has recently been released by CBS. The
group seems to have matured a great deal since the first album, but I
suspect that they would aim some of the credit for that in the direction
of engineer Bill Aitken, who has done a very fine job on the album. "Thought
Talk' has ten tracks in all and the inclusion of 'Since I Lost
You', 'Down The Street' and 'Don't Give Me A Hard Time' would, I think,
effectively finish up the recording of the best of the 'old' SEAL
songs-that is the ones that have been included in their stage set over
the past two years. Each of those three songs has been treated to a
fuller sound, especially 'Since I Lost You' which has had an attractive
organ added, noticeably at the end of each line in the chorus. 'Good
Love', the edited version of which is the group's current single, is the
album's roaring opener and although it’s a good song, I feel that here
it loses some of the rawness that the live version possesses. The
crashing chord that opens' One Foot In The Boat' has not, I am assured,
been borrowed from 'Expecting To Fly' especially for this occasion. As
the sleeve credits both Tony and Jeff Bannister with organ it’s
difficult to know who is playing on each track, but the discreet organ
work on this one is very effective. Incidentally try singing the lyrics
to this song at half speed and you'll find yourself imitating Leonard
Cohen! 'Fool's Gold', the
last track on the first side, must be one of Iain's best love songs to
date. His voice soars over interweaving acoustic guitars helped along by
a sensitive cello played by Colin Walker, who has previously done some
things with E.L.O. Starry Eyed's superb vocal harmonies are demonstrated
on Ross' lovely 'Believe', which starts off the second side. Some
delicate lead guitar work is evident on this track too. 'Keep It To
Yourself' has the kind of feel that 'Good Love' perhaps lacks and is
followed by the aforementioned 'Don't Give Me A Hard Time' on which Pete
Zorn
(
of F.F.&
Z.) plays alto sax. I have no idea of what Tony's 'Flames In
The Rain' is all about, but it doesn't matter because it's a fabulous
track anyway. It has a mid-sixties feel and the vocal delivers an
impression of total hopelessness, emphasised by its mystical lyrics.
Tony: 'I've got pages and pages of verses for that one-it goes on like
'Like A Rolling stone' and I just had to take out the best ones.' The
title track of the album 'Thought Talk', written by Iain and Tony, is a
song similar in style to 'Tamalpais High' and it is the album's closer.
The standard of songwriting, both collectively and individually, on this
album is very high and their virtuosity shines throughout. Special
mention must be made of Mike Wackford's drumming, which is nothing less
than dynamic, and which could lead to him getting a name for himself.
During the recording another track was tried, but to no avail. Iain: '
We tried to do 'Just Like A Weepy Movie', but it didn't turn out right.
I think that I know how I'd like to do it now though so we may try again
sometime.' Unlike the first album you'll find no lyrics with this
one. Tony explains why: ‘I
think that having the lyrics included with an
album detracts from the music because you tend to read the words and not
listen to the album. Anyhow it makes the album more mysterious! The
lyrics were included with the first album, but they weren't great when
they were written down. I think that the lyrics have to stand up on
their own to a certain extent. It’s OK though, if you're someone like
Joni Mitchell.' Starry
Eyed's managerial problems of the summer were straightened out when Pete
Frame stepped in. Tony: 'We had heard that Pete had left Charisma and so
we went up to see him, with the result that he's now managing us.' The
current American tour that the group is undertaking hinged on an all
important gig that they did at the Nashville mid August. Record company
executives were present in the audience that
night and it was their impression
of the group that was to decide whether the tour was on or off. Tony
Poole again: 'They had been to see us perform before and they had told
us to go back and rehearse, which we did. After we played that date at
the The
group are due back in December and we shall have to wait until then for
the full story on how they conquered the East Coast. One thing is for
certain though and that is the group's confidence in their new manager.
Although perhaps a gross overstatement the group's sentiments are summed
up by Tony Poole when he says 'We are a lot happier with things
now-after all Pete Frame is Mr. Bock 'n' Roll!' HO HO & WAHOO Barry © Omaha Rainbow fanzine, Issue #7, 1975
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