Music

Neneh Cherry: Blank Project Deluxe

If anything, the remixes on Neneh Cherry's deluxe release of Blank Project are essentially exercises in demonstrating the versatility and the loose and improvised constructs of the original versions' rhythms.


Neneh Cherry

Blank Project Deluxe

Label: Small Town Supersound
US Release Date: 2014-12-02
UK Release Date: 2014-12-02
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After a near 20 years away from the spotlight as a solo act, Neneh Cherry’s return in 2014 with her Kieran Hebden-produced album, Blank Project, was justly welcomed with adoring praise. Blank Project was unlike anything the artist had presented in her solo career of 25 years. And, yet, it was also typical of her work, with the album really just another expression of her irrepressible optimism and infinite resourcefulness. Whereas in the past Cherry daringly explored hip-hop by tweaking the genre to such incredibly skewed dimensions, Blank Project opted for a strange kind of minimalism. Stripped down to a base of just drums, synths and voice, the album examined a certain spaciousness in sound and emotion, whilst still mining the deep grooves of hip-hop, albeit in a nearly unrecognizable form. In fact, the spontaneity of Blank Project recalled much of the free-spirited punk of Cherry’s early '80s post-punk band, Rip Rig and Panic, a collective that mixed the unruly fires of punk with the hip-freeing heavy grooves of funk. Very much a work of heart, Blank Project detailed Cherry’s life in the wake of her mother’s death and her role as a mother, wife and artist. It was a long and much appreciated return for the artist who always offered a fresh and unique perspective in the wide, vast landscape of pop music.

Cherry re-releases Blank Project again, this time with a selection of remixes from the album. This isn’t the first time Cherry has commissioned a series of remixers to rework her material. The artist’s 1996 album, Man, was also the subject of a remix project called Neneh Chérie: Remixes, featuring a set of French producers and remixers. Blank Project Deluxe essentially takes its cue from Neneh Chérie, with a second disc of tracks from Blank Project being reworked into funked-up minimalist grooves that trade in the original versions of the tracks’ chunky beats for more brittle and angular affairs. If anything, these remixes are essentially exercises in demonstrating the versatility of the original versions and the loose and improvised constructs of Blank Project’s rhythms. It would appear that Blank Project lends itself quite easily to some free-form fuckery with its earthy, makeshift grooves. A number of the remixes, like Matt Karmil’s take on “422”, a lithe, sonic rewrapping that stretches out the atmospheres with some minor percussive clatter, take a less-is-more approach. Other remixes, like Loco Dice’s version of “Everything”, reconfigure the original versions as groovesome but often tuneless house stompers, which remove the edgy vocal phrasings and grittier textures featured on the parent album. Some remixes, however, are rather beguiling; the Cooly G remix of “Everything” turns in a boxy, funkified throb of rhythm that is as brilliantly asymmetrical as the original. On the chewy, percussive shuffle of the Bouvet reworking of “Out of the Black”, there is a warm electro-sheen that provides the number with a texture that is soft and welcoming.

Too often, however, the rough-hewn rhythms and emotional core of the original album are either buried deep beneath the studio trickery or excised completely. Thus, those looking for some harmless beat-ravished fun might like to take these remixes for a curious spin. But if you want a work full of passion, blood and deep-seated emotions, simply stick with Cherry’s original album.

9

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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