Music

Dot Allison: Room Seven and a Half

Even when she’s the victim, such as the alcoholic, drug-addled mistress of the title track, Allison’s voice makes it clear she’s still the boss.


Dot Allison

Room Seven and a Half

Label: Arthouse Ltd
UK Release Date: 2009-10-13
US Release Date: 2010-03-23
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It’s somehow appropriate that the first words on Dot Allison’s latest disc are, “You are frozen / you are fire”, because her voice sounds like frozen fire. Allison sings with a cold passion. Her vocals burn through the mix whether she’s expressing the pain of calamity from the perspective of the gal who ruined your dreams of romance or from the one who was the victim of someone else’s cruelty. In both cases, Allison conveys a distancing of emotion, a numbness, caused by too many life experiences. She’s not the naïf, but the old hand who knows better.

You can find this in the lyrics, where she sings about being everything from a lowly whore who wants to pretend she can woo a man away from his wife to a roguish villain who died for the money in his pockets. The best evidence can be found in the delicateness of her voice. It seems to have the tensile strength of hardened steel. Consider her duet with Pete Doherty, the bluntly titled “I Want to Break Your Heart”. The song begins with a gently strummed off-key and off-kilter acoustic guitar while Allison plays the glockenspiel. In a quiet, breathy voice she gleefully sings, “The pain I brought to you / It was so easy to do.” If one weren’t listening carefully, one would presume she’s cooing words of love. Allison delights in the hurt she brought. “I know you have suffered / cried tears in my name / now you’ll never recover.” The fragility of her expression serves to underscores her ecstasy at breaking her man’s heart, which is further emphasized by Doherty’s lame declarations of love. “I wanna be your man….I wanna hold your hand….I wanna be your dog,” he sings. From the Rolling Stones to the Beatles to Iggy and the Stooges, he debases himself in a matter of seconds, leaving no doubt that Allison is in charge.

Even when she’s the victim, such as the alcoholic, drug-addled mistress of the title track, Allison’s voice makes it clear she’s still the boss. She might need the whiskey to get herself started, but don’t mistake the vulnerability in her voice for real vulnerability. She lets the listener know she’s just playing a role to get what she wants. Allsion carefully annunciates the desire for peace of mind that lies at the roots of her addictions. On this song, as on the others, the instrumentation colors the music but never really intrudes on her performance. She again plays glockenspiel, and also abets herself on autoharp. The rest of the accompaniment (James Johnson on harmonium, organ, etc., Terry Edwards on trumpet, saxophone, bass, Rob Ellis on drums and percussion) adds a layered atmosphere to what happens. For the most part, there are no notable solos. Only thick, rich strata of sounds and noises that fog the speakers like smoke pots on a stage.

The two or three folk-like songs seem a departure for the former electronica star. “Jonny Villain” comes off as a Bertholt Brecht/Kurt Weill cabaret-style morality tale. The first half of “Portrait of the Sun” is an autumnal love song that blossoms into a noise fest as love fades away. On Allison’s duet with Paul Weller, “Love’s Got Me Crazy”, they croon in unison to a lovely and lilting acoustic accompaniment, until it becomes clear that the duo may actually be insane. Is this love? Does it matter? The point seems to be that love is delusional and lovers can’t be trusted. The duo don’t seem happy, just nuts, and the simple accompaniment reinforces the simplicity of this ironic fact.

8

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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