— Sorrel Downer
And John Lydon is impossible to ignore. His presence, his sneer, his hair, his quest to make sure we never forget those times he's been proven correct (or was it just the once with Jimmy Saville?): everything about him makes you take notice and (much as you might want to) you can't quite look a way. He also doesn't care what you think — which is why he's always been such a good sport with his critics.
He's the least interesting thing about "Home" however. I've previously noted that this was the peak of Lydon's American sound in which he brought together hip hop and reggae influences and began employing some first rate US musicians from rock and jazz to back him and his "band" Public Image Ltd. The man took a beating for this (as well as his recent move to LA) but, as usual, he came out swinging at his critics. "Nobody has any right to accuse or to say ANYTHING to me," he tells Tom Hibbert in a recent issue of Smash Hits. More than a little defensive but he was correct on his main point: he had the right people play on his bloody album.
It's a pretty impressive lineup on Album, the deliberately generically-titled fifth PiL full-length release (with Cassette, Compact Disc and Video as format companions and even a sweet selection of badges, key rings and mugs to further hammer the point home — even if the point was never made clear but, whatever, it looked cool). Tony Williams, late of Miles Davis' extraordinary Second Great Quintet, The Tony Williams Lifetime and dozens of outstanding Blue Note sessions, is present just as he had been on previous single "Rise". He's not exactly showing off his considerable talents like on "Hand Jive" or "Emergency" but his playing is still powerful with excellent timing. Funk player Bernie Worrell guests on organ and, again, his playing is strong but not remarkable. More than good enough for the song we're dealing with here but he's done more elsewhere.
The star of "Home" is Steve Vai, ace guitarist for Frank Zappa and a steady hand for anyone needing a bit of heavy metal fret work. This is where Sorrel Downer expresses her astonishment at the "haywire" guitar playing and it's the only time when the record feels like it might break free and become the maniacal statement that it really ought to be. Rhythm guitarist Nicky Skopelitis dials back on aping The Edge's shimmering shards in "Rise" to doing some crunchy rock chords that gets the listener to expect something a bit tougher but Vai's spot is still pretty surprising. But is it because no one expects a bit of metal on an old punk's latest record or is it something else? (Hint: it's something else)
"Now!" Lydon roars as Vai's solo fades. Is it a roar or a shriek? A screech? A wail? Not sure really. Whatever it is, it doesn't seem like much up against some mad guitar bit. He's gotten himself into a situation that demands vocal power and he doesn't have it. Lydon's never been much of a vocalist but one would assume he's able to hold his own when it comes to spitting out some anger. It doesn't help that he's reciting some useless lyrics filled with cliches ("every dog has its day", "home sweet home") and some over-obvious rhymes which bring to mind Eminem's horrible "Without Me". And like Slim Shady's first real misstep, Lydon seems to be wallowing in self-parody. The threat of nuclear war was still a very real fear in 1986 but not much is offered up to scare people more or put them at ease. Lydon just going through the motions of being Lydon, unaware that he was running out of relevance. If only we could ignore him.
And John Lydon is impossible to ignore. His presence, his sneer, his hair, his quest to make sure we never forget those times he's been proven correct (or was it just the once with Jimmy Saville?): everything about him makes you take notice and (much as you might want to) you can't quite look a way. He also doesn't care what you think — which is why he's always been such a good sport with his critics.
He's the least interesting thing about "Home" however. I've previously noted that this was the peak of Lydon's American sound in which he brought together hip hop and reggae influences and began employing some first rate US musicians from rock and jazz to back him and his "band" Public Image Ltd. The man took a beating for this (as well as his recent move to LA) but, as usual, he came out swinging at his critics. "Nobody has any right to accuse or to say ANYTHING to me," he tells Tom Hibbert in a recent issue of Smash Hits. More than a little defensive but he was correct on his main point: he had the right people play on his bloody album.
It's a pretty impressive lineup on Album, the deliberately generically-titled fifth PiL full-length release (with Cassette, Compact Disc and Video as format companions and even a sweet selection of badges, key rings and mugs to further hammer the point home — even if the point was never made clear but, whatever, it looked cool). Tony Williams, late of Miles Davis' extraordinary Second Great Quintet, The Tony Williams Lifetime and dozens of outstanding Blue Note sessions, is present just as he had been on previous single "Rise". He's not exactly showing off his considerable talents like on "Hand Jive" or "Emergency" but his playing is still powerful with excellent timing. Funk player Bernie Worrell guests on organ and, again, his playing is strong but not remarkable. More than good enough for the song we're dealing with here but he's done more elsewhere.
The star of "Home" is Steve Vai, ace guitarist for Frank Zappa and a steady hand for anyone needing a bit of heavy metal fret work. This is where Sorrel Downer expresses her astonishment at the "haywire" guitar playing and it's the only time when the record feels like it might break free and become the maniacal statement that it really ought to be. Rhythm guitarist Nicky Skopelitis dials back on aping The Edge's shimmering shards in "Rise" to doing some crunchy rock chords that gets the listener to expect something a bit tougher but Vai's spot is still pretty surprising. But is it because no one expects a bit of metal on an old punk's latest record or is it something else? (Hint: it's something else)
"Now!" Lydon roars as Vai's solo fades. Is it a roar or a shriek? A screech? A wail? Not sure really. Whatever it is, it doesn't seem like much up against some mad guitar bit. He's gotten himself into a situation that demands vocal power and he doesn't have it. Lydon's never been much of a vocalist but one would assume he's able to hold his own when it comes to spitting out some anger. It doesn't help that he's reciting some useless lyrics filled with cliches ("every dog has its day", "home sweet home") and some over-obvious rhymes which bring to mind Eminem's horrible "Without Me". And like Slim Shady's first real misstep, Lydon seems to be wallowing in self-parody. The threat of nuclear war was still a very real fear in 1986 but not much is offered up to scare people more or put them at ease. Lydon just going through the motions of being Lydon, unaware that he was running out of relevance. If only we could ignore him.
~~~~~
Also Reviewed This Fortnight
Watt Government: "Working My Fingers to the Bone"
One and done's with a silly band name doesn't bode well but for one thing: their single is rather good. Utilizing Talking Heads' new-wave-meets-world-beat style, their sound is a little more loungey while remaining firmly tied to DIY post-punk values. It's really no exaggeration to say that this could have been a new Two Tone movement for the mid-eighties had the Watts been given more of a chance to thrive. Records you don't hear anymore and didn't even get much back then. A nice surprise.
One and done's with a silly band name doesn't bode well but for one thing: their single is rather good. Utilizing Talking Heads' new-wave-meets-world-beat style, their sound is a little more loungey while remaining firmly tied to DIY post-punk values. It's really no exaggeration to say that this could have been a new Two Tone movement for the mid-eighties had the Watts been given more of a chance to thrive. Records you don't hear anymore and didn't even get much back then. A nice surprise.
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