musicomh.com
ALBUM
REVIEW - 'ALL THINGS REAL' BY TONY HEYWOOD
FROM MUSICOMH.COM MARCH
'06
Steve Adey is a studio boffin who has spent his life working on other
people's records in studios around the world. The Brummie born engineer
has been slowly stockpiling material for All Things Real, his debut release.
This is a piano led voyage through midnight shivers and 3am silences.
This is adult music dealing with complex, slow burning emotions and lessons
learned through the passage of time.
The stillness in tracks like Find The Way and The Last Remark is more
than a little reminiscent of The Blue Nile in their fractured slow drift.
Adey's vocals aren't quite a match for Paul Buchanan's, but there is no
shame in that: Buchanan's voice is one of those rare beasts that only
surfaces once a decade. It's a little more difficult to excuse the blatant
lifting of huge swathes of Blue Nile sound, though.
Find The Way is a naked torch song, the bare elements of voice and broken,
lingering piano chords drifting in the ether. The piano part was recorded
in a disused church and it echos with a quiet elegance. The Last Remark
follows a similar path - haunted piano and swirls of ambient sound.
Although they are pretty and played with elegant restraint, they lack
the emotional resonance of the Blue Nile. The songs never quite make the
leap from agreeable to heartbreaking; there is too much melodrama where
there should be melancholy.
The cover of Bonnie Prince Billy's I See Darkness is pleasant enough;
suitably sparse but lacking the dark thrill of the Johnny Cash cover or
the skewered, off-key brilliance of the original. The slowed down version
of Bob Dylan's Shelter From The Storm is more successful, the song deconstructed
completely and carried on the sparse sound of Adey's piano. The track
builds slowly with new instrumental shades added at the end of each verse.
It's an exercise in self-discipline that is perfectly executed. There
is real passion in the delivery and a sense of foreboding running throughout.
Dylan songs are hard to get a handle on but this is a clever reinterpretation
of classic.
It's a tightrope act when you cover such wonderful songs, however: you
run the risk of exposing the flaws in your own compositions. Unfortunately
for Adey he falls from the high wire; See Shelter From The Storm is by
some distance the best track here. Dylan's impressionist lyric and sense
of melody throw unflattering light on Adey's own work.
It's not that these are bad songs, they are just not great songs. The
sound of Adey's piano tends to dominate the proceedings and it leaves
the material sounding awfully uniform .The arrangements lack movement
or the element of surprise. There is too much drift and not enough thrust.
Just as you think the songs are about to take off, they return back to
Earth with a dull thump.
If Adey had enlisted the help of an outside producer, I believe the material
could have really shone: with tighter arrangements and more light and
variation this could have been a late night classic. Sadly, this is instead
a missed opportunity. (2/5)
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