Imperial Bedroom (2002) liner notes: Difference between revisions
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The major change of the previous 18 months had been a gradual switch to piano as my main composing instrument. This not only invited a more arranged approach to the songs, but also reflected the music to which I was listening. This consisted of a lot of hours with a handful of mid-'30s Billie Holiday recordings — "Ghost Of Yesterday" and "Gloomy Sunday" being my favourites — the "Glad To Be Unhappy" side of Rodgers & Hart, as found on the late Billie Holiday album ''Lady In Satin'' and Frank Sinatra's ''In The Wee Small Hours'' collection, the <i>'Round About Midnight</i> album by Miles Davis, a The Left Banke compilation, the piano music of Erik Satie, and a cassette of ''La Mer'' by Debussy. Hardly any of these choices had a detectable influence on the songs on this record, but I also returned to the albums of David Ackles with which I had spent an awful lot of time as a teenager. Now as an adult, there was certainly something attractive about the way these records felt out of step with fashion and had a connection to so many musical threads. | The major change of the previous 18 months had been a gradual switch to piano as my main composing instrument. This not only invited a more arranged approach to the songs, but also reflected the music to which I was listening. This consisted of a lot of hours with a handful of mid-'30s Billie Holiday recordings — "Ghost Of Yesterday" and "Gloomy Sunday" being my favourites — the "Glad To Be Unhappy" side of Rodgers & Hart, as found on the late Billie Holiday album ''Lady In Satin'' and Frank Sinatra's ''In The Wee Small Hours'' collection, the <i>'Round About Midnight</i> album by Miles Davis, a The Left Banke compilation, the piano music of Erik Satie, and a cassette of ''La Mer'' by Debussy. Hardly any of these choices had a detectable influence on the songs on this record, but I also returned to the albums of David Ackles with which I had spent an awful lot of time as a teenager. Now as an adult, there was certainly something attractive about the way these records felt out of step with fashion and had a connection to so many musical threads. | ||
It was being an "adult" that was most of the problem, that and the fact there seemed to be little time for "sober reflection." The public and private upheavals of the previous four or five years had heightened my already melancholy disposition. I intend that most "private" matters should remain that way, but when the opening track is called "Beyond Belief," and the key song of a record is entitled "Man Out Of Time" | It was being an "adult" that was most of the problem, that and the fact there seemed to be little time for "sober reflection." The public and private upheavals of the previous four or five years had heightened my already melancholy disposition. I intend that most "private" matters should remain that way, but when the opening track is called "Beyond Belief," and the key song of a record is entitled "Man Out Of Time," you don't have to be a psychiatrist to work out what was going on. | ||
Disgusted, disenchanted, and occasionally in love, "Man Out Of Time" was the product of a troubling dialogue with myself that continued through my more regretful moments. I recall looking at my reflection in the frozen window of a Scandinavian tour bus without any idea who the hell I was supposed to be. I was trying to think or feel my way out of a defeated and exhausted frame of mind to something more glorious. | Disgusted, disenchanted, and occasionally in love, "Man Out Of Time" was the product of a troubling dialogue with myself that continued through my more regretful moments. I recall looking at my reflection in the frozen window of a Scandinavian tour bus without any idea who the hell I was supposed to be. I was trying to think or feel my way out of a defeated and exhausted frame of mind to something more glorious. | ||
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The arrangement is a pretty good example of the approach to this record. The rhythm section plays a sort of vague Latin pulse while Steve leads the way on both the piano and accordion. In fact it took three of us to execute this part. Laying the instrument on the table, Steve played the keyboard, while one of us worked the bellow, and a third party held the beast in place. I play a composed melody on the tremolo guitar in the middle of the track, and the song concludes with a trio of French horns arranged by Steve Nieve. | The arrangement is a pretty good example of the approach to this record. The rhythm section plays a sort of vague Latin pulse while Steve leads the way on both the piano and accordion. In fact it took three of us to execute this part. Laying the instrument on the table, Steve played the keyboard, while one of us worked the bellow, and a third party held the beast in place. I play a composed melody on the tremolo guitar in the middle of the track, and the song concludes with a trio of French horns arranged by Steve Nieve. | ||
[[image:2002 Imperial Bedroom booklet page 06.jpg|120px|right|Booklet page 6.]] | |||
In those days the relationship between "legit" players and pop musicians was not always an easy one. Steve had intended the part to be plaintive and noble like a Wagnerian hunting motif, but after on of the players adjourned to the pub during the mid-session break, the execution began to resemble something from an after-hours club in New Orleans. By complete accident, I actually preferred this effect. | In those days the relationship between "legit" players and pop musicians was not always an easy one. Steve had intended the part to be plaintive and noble like a Wagnerian hunting motif, but after on of the players adjourned to the pub during the mid-session break, the execution began to resemble something from an after-hours club in New Orleans. By complete accident, I actually preferred this effect. | ||
It was not as if outside players were ever likely to steal the attention from The Attractions' playing on this album. The demos of these songs reveal and approach similar to ''Trust'', which itself had a number of very fine ensemble performances. However, once we were in AIR Studios with Geoff Emerick, it was possible for each player to be featured while never distracting from the songs. There is some particularly fine playing from Bruce Thomas on the tag of "Shabby Doll" and in the final verse of "Human Hands" | It was not as if outside players were ever likely to steal the attention from The Attractions' playing on this album. The demos of these songs reveal and approach similar to ''Trust'', which itself had a number of very fine ensemble performances. However, once we were in AIR Studios with Geoff Emerick, it was possible for each player to be featured while never distracting from the songs. There is some particularly fine playing from Bruce Thomas on the tag of "Shabby Doll" and in the final verse of "Human Hands," where his bass counterpoint sits elegantly below my overdubbed vocal group. My favourite among Steve Nieve's many musical highlights must be the dazzling bridge passage of "The Loved Ones." | ||
[[image:2002 Imperial Bedroom booklet page 07.jpg|120px|right|Booklet page 7.]] | |||
One afternoon, Pete Thomas arrived at the studio straight from a night of carousing, he confounded all of us by turning in the single inventive take of "Beyond Belief" that transformed the song into the opening track of the record. It was originally entitled "The Land Of Give And Take" with an almost improvised sounding text. The strength of Pete's performance meant that I was able to consider a more ambitious and confidential vocal approach. I re-wrote the song over the existing backing track, achieving a more coherent structure. There was less explosive playing required on many of the other tracks. | One afternoon, Pete Thomas arrived at the studio straight from a night of carousing, he confounded all of us by turning in the single inventive take of "Beyond Belief" that transformed the song into the opening track of the record. It was originally entitled "The Land Of Give And Take" with an almost improvised sounding text. The strength of Pete's performance meant that I was able to consider a more ambitious and confidential vocal approach. I re-wrote the song over the existing backing track, achieving a more coherent structure. There was less explosive playing required on many of the other tracks. | ||
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Most concentrated of these songs is the ballad "Almost Blue." It was written in imitation of the Brown/Henderson song "The Thrill Is Gone." I had become obsessed with the Chet Baker recording of that tune, firstly the trumpet instrumental and, later, the vocal take. It is probably the most faithful likeness to the model of any of my songs of this time. It has become my most covered composition. | Most concentrated of these songs is the ballad "Almost Blue." It was written in imitation of the Brown/Henderson song "The Thrill Is Gone." I had become obsessed with the Chet Baker recording of that tune, firstly the trumpet instrumental and, later, the vocal take. It is probably the most faithful likeness to the model of any of my songs of this time. It has become my most covered composition. | ||
Two years later, when Chet Baker came into the studio to play the trumpet solo on our recording of "Shipbuilding" | Two years later, when Chet Baker came into the studio to play the trumpet solo on our recording of "Shipbuilding," I gave him a copy of this album and suggested that he might listen to one track in particular. Although we met up again at his subsequent London engagements and even worked together on one occasion, he never mentioned the record again. It wasn't until several months after his death that I found out that he had been including "Almost Blue" in his later sets and that it would feature in photographer Bruce Weber's documentary on Baker, ''Let's Get Lost''. Chet's performance of the song, before an indifferent film festival crowd, makes for very uncomfortable viewing, but there is a wonderful version, featuring an extended trumpet solo, on a late "live" album from Japan. He finally seemed to get what I hoped he would recognize in the composition. | ||
[[image:2002 Imperial Bedroom booklet page 08.jpg|120px|right|Booklet page 8.]] | |||
Many of the remaining songs on the record take their cue from the opening track, "Beyond Belief." They exhibit a malaise of the spirit and a sinking feeling about happy endings. The souring and spoiling of England was just under way. Passing from town to town on the tours of the early '80s, I came to know some people who seemed just as disenchanted and discouraged. Their stories found their way into these songs. | Many of the remaining songs on the record take their cue from the opening track, "Beyond Belief." They exhibit a malaise of the spirit and a sinking feeling about happy endings. The souring and spoiling of England was just under way. Passing from town to town on the tours of the early '80s, I came to know some people who seemed just as disenchanted and discouraged. Their stories found their way into these songs. | ||
It was about two in the morning when I visited the coffee bar. It was doing a brisk trade in salt fish, dumplings, and hot, sweet drinks. It was about the only place to go after the bars had shut. The girls, who looked like over-the-hill boxers in pink stretch nylon, were coming in from the cold to negotiate with their pimps. I'd gone there with a girl I knew and a couple of her friends because my parents had lived in the area shortly before I was born. My folks had just got out in time. I'd nearly been a Yorkshireman. My visit was during the ''Trust'' tour of England, and the area had long since tipped into decline. Shortly afterwards it was revealed that this had been the beat of the serial killer Peter Sutcliffe. | It was about two in the morning when I visited the coffee bar. It was doing a brisk trade in salt fish, dumplings, and hot, sweet drinks. It was about the only place to go after the bars had shut. The girls, who looked like over-the-hill boxers in pink stretch nylon, were coming in from the cold to negotiate with their pimps. I'd gone there with a girl I knew and a couple of her friends because my parents had lived in the area shortly before I was born. My folks had just got out in time. I'd nearly been a Yorkshireman. My visit was during the ''Trust'' tour of England, and the area had long since tipped into decline. Shortly afterwards it was revealed that this had been the beat of the serial killer Peter Sutcliffe. | ||
My Chapeltown tour guide was probably the model for the character in " | My Chapeltown tour guide was probably the model for the character in "...And In Every Home," even though we were barely acquainted. It is a snapshot of a disappointed young women, with the boyfriend in prison and a strong feeling that life should be offering something more. The least that I could offer her was that this story should be decorated with an ornate orchestral arrangement. As the chorus remarks: | ||
''"Oh heaven preserve us <br> | ''"Oh heaven preserve us <br> | ||
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Another song in this group was "Shabby Doll." The title came from a music hall poster hung in a hotel dining room. I'd heard the tale of John Lennon writing "Being For The Benefit Of Mr. Kite" from a similar source, the difference being that the one that I came across was a blurred facsimile decorating a fake Victorian facade. Perhaps this was entirely appropriate for such an unflattering self-portrait. | Another song in this group was "Shabby Doll." The title came from a music hall poster hung in a hotel dining room. I'd heard the tale of John Lennon writing "Being For The Benefit Of Mr. Kite" from a similar source, the difference being that the one that I came across was a blurred facsimile decorating a fake Victorian facade. Perhaps this was entirely appropriate for such an unflattering self-portrait. | ||
[[image:2002 Imperial Bedroom booklet page 09.jpg|120px|right|Booklet page 9.]] | |||
Although I am fond of the "Shabby Doll" demo on CD 2, with its prominent dissonant bass figure, the finished ensemble version is both more powerful and mischievous. It is a rare example of the words becoming harsher in the final draft, with the line: ''"being what you might call a whore, always worked for HIM before,"'' being amended to the more truthful first person. | Although I am fond of the "Shabby Doll" demo on CD 2, with its prominent dissonant bass figure, the finished ensemble version is both more powerful and mischievous. It is a rare example of the words becoming harsher in the final draft, with the line: ''"being what you might call a whore, always worked for HIM before,"'' being amended to the more truthful first person. | ||
Despite the talk of ''"drinking to distraction"'' and the entreaty to ''"drink yourself insensitive,"'' not all of the songs exist in the realm of guilt and despair. "The Loved Ones" joyfully trashes the myth of the romantically self-destructive artist and "You Little Fool" is a cautionary word to a young girl who is about to throw herself away on an unworthy fellow. A version with an entirely different vocal line appears on CD 2. | Despite the talk of ''"drinking to distraction"'' and the entreaty to ''"drink yourself insensitive,"'' not all of the songs exist in the realm of guilt and despair. "The Loved Ones" joyfully trashes the myth of the romantically self-destructive artist and "You Little Fool" is a cautionary word to a young girl who is about to throw herself away on an unworthy fellow. A version with an entirely different vocal line appears on CD 2. | ||
"Human Hands" was a song of reconciliation, but the original lyric seemed to raw and easily read, closing it off to the experience of others. The original vocal take can be heard on CD 2. Among the colloquialisms and lyrical puzzles of "Pidgin English" | "Human Hands" was a song of reconciliation, but the original lyric seemed to raw and easily read, closing it off to the experience of others. The original vocal take can be heard on CD 2. Among the colloquialisms and lyrical puzzles of "Pidgin English," there is a longing for the simple words to express love. | ||
The odd song out on the second half of the record is "Kid About It." Originally, styled as a slow r'n'b ballad, I made the decision to pitch the recorded vocal in my lowest octave for greater intimacy. An early run-through take of the first draft appears on CD 2. | The odd song out on the second half of the record is "Kid About It." Originally, styled as a slow r'n'b ballad, I made the decision to pitch the recorded vocal in my lowest octave for greater intimacy. An early run-through take of the first draft appears on CD 2. | ||
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The song is a rejection of tarnished and jaded games of adulthood. There is even a small, improbable sense of hope at the end of the second verse. It was composed on the morning after John Lennon's murder. I went out walking to clear my head of the dreadful news reports, and this song came to me. I wouldn't have done anything as presumptuous as write a song "about" the event and even edited out a passing reference to it in the original second verse. However, the line ''"Singing the 'Leaving Of Liverpool' and turning into Americans"'' seems to be about a place where dreams begin and end. | The song is a rejection of tarnished and jaded games of adulthood. There is even a small, improbable sense of hope at the end of the second verse. It was composed on the morning after John Lennon's murder. I went out walking to clear my head of the dreadful news reports, and this song came to me. I wouldn't have done anything as presumptuous as write a song "about" the event and even edited out a passing reference to it in the original second verse. However, the line ''"Singing the 'Leaving Of Liverpool' and turning into Americans"'' seems to be about a place where dreams begin and end. | ||
A short time after completing the record, we were sent into a tiny basement studio to cut a series of self-produced "covers" | A short time after completing the record, we were sent into a tiny basement studio to cut a series of self-produced "covers," mostly sings originally cut by Merseybeat groups. I was then a co-owner of Demon Records and our "Edsel" re-issue imprint was making some of these records available. I had the berserk notion that we might be able to scare up some extra interest in the re-releases by cutting the same songs. Quite apart from anything else, there was an innocence about the tunes that had been absent from the ''Imperial Bedroom'' sessions. These tracks and the trio recording of an early song of mine, "I Turn Around" — Steve Nieve was out of town, so I played organ — were cut without the burden of meaning and dark emotion. One of them, the Smokey Robinson song "From Head To Toe," was actually a bigger U.K. hit than any of the ''Imperial Bedroom'' singles. | ||
Even during the album session there were some moments of levity. The record closes with "Town Cryer" | Even during the album session there were some moments of levity. The record closes with "Town Cryer," a truthful if rather self-pitying lament. The song is taken at a grand slow tempo with the decoration of Steve Nieve's Philly-style string chart. However, late one evening — and concerned about the gathering gloom — armed only with a wah-wah pedal and a beat group's attempt to imitate Barry White and the Love Unlimited Orchestra, we recorded an up-tempo arrangement, briefly issued (in mock-French) as the "Version Discotheque" and presented here once more for your amusement. | ||
I continued the album theme for a little while, writing the "title song" | I continued the album theme for a little while, writing the "title song," a sick waltz about the seduction of a bride by the best man. It was not a natural choice for the former ABBA singer Frida, but it was nevertheless originally submitted for inclusion on her latest solo album. It was not thought suitable by her producer, a Mr. Collins. He was probably right for once. | ||
The album was not a big commercial success, despite Columbia Records absurd "Masterpiece?" ad campaign — which was really asking for it. The choice of singles did little to indicate the change of scene from the previous albums, although many of the songs established a place in the live repertoire. | The album was not a big commercial success, despite Columbia Records absurd "Masterpiece?" ad campaign — which was really asking for it. The choice of singles did little to indicate the change of scene from the previous albums, although many of the songs established a place in the live repertoire. | ||
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Several years later, while working on the album ''King Of America'', I was in a Hollywood hotel bar and a man introduced himself and started talking about this album. He turned out to be the renowned pianist, singer, and connoisseur of arcane and obscure lyrics of the Broadway era, Michael Feinstein. He had once worked as an assistant to Ira Gershwin, and he told me that when a ''New York Times'' review compared some of the writing on ''Imperial Bedroom'' to his brother, George, Mr. Gershwin had requested that his assistant purchase a copy of the record. | Several years later, while working on the album ''King Of America'', I was in a Hollywood hotel bar and a man introduced himself and started talking about this album. He turned out to be the renowned pianist, singer, and connoisseur of arcane and obscure lyrics of the Broadway era, Michael Feinstein. He had once worked as an assistant to Ira Gershwin, and he told me that when a ''New York Times'' review compared some of the writing on ''Imperial Bedroom'' to his brother, George, Mr. Gershwin had requested that his assistant purchase a copy of the record. | ||
It conjures a horrifying image of a despairing Ira Gershwin being assailed by the howling introduction of "Man Out Of Time" | It conjures a horrifying image of a despairing Ira Gershwin being assailed by the howling introduction of "Man Out Of Time," believing that this is what the people made of his brother's legacy. He had no way of knowing that I would have been delighted by this small contact with the musical world that existed before rock 'n' roll. Having read the cutting remarks in Mr. Gershwin's volume of annotated lyrics, I probably don't want to know his true reaction to the record. | ||
Listening again to the raw and ragged early takes, demos, and rejected songs, I am not sorry to have employed just a little restraint and reserve in the final draft. I suppose that just came naturally to writers like Ira Gershwin. The record is not exactly easy listening as it is, but I trust that it isn't just the experience of one person. Thanks to the playing of The Attractions and the sonic expertise of Geoff Emerick (and his assistant, Jon Jacobs), it sounds like music rather than a confession. | Listening again to the raw and ragged early takes, demos, and rejected songs, I am not sorry to have employed just a little restraint and reserve in the final draft. I suppose that just came naturally to writers like Ira Gershwin. The record is not exactly easy listening as it is, but I trust that it isn't just the experience of one person. Thanks to the playing of The Attractions and the sonic expertise of Geoff Emerick (and his assistant, Jon Jacobs), it sounds like music rather than a confession. | ||
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[[image:2002 Imperial Bedroom booklet page 06.jpg|x190px|Page 6.]] | [[image:2002 Imperial Bedroom booklet page 06.jpg|x190px|Page 6.]] | ||
[[image:2002 Imperial Bedroom booklet page 07.jpg|x190px|Page 7.]] | [[image:2002 Imperial Bedroom booklet page 07.jpg|x190px|Page 7.]] | ||
<small>Booklet pages 8 and 9.</small><br> | |||
[[image:2002 Imperial Bedroom booklet page 08.jpg|x190px|Page 8.]] | |||
[[image:2002 Imperial Bedroom booklet page 09.jpg|x190px|Page 9.]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Revision as of 19:40, 20 April 2024
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