Music

James Blunt: All The Lost Souls

Nothing really hits the heart; it's all very precise and workmanlike, and… well, boring, to be honest.


James Blunt

All The Lost Souls

Label: Atlantic
US Release Date: 2007-09-18
UK Release Date: 2007-09-17
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To a lot of rock-crit types and "serious music fans", James Blunt is the Antichrist. The British singer/songwriter's pinched, high-pitched voice is definitely an acquired taste, while from a musical standpoint, he suggests a watered down version of artists like Ray Lamontagne. Blunt's debut album, 2005's Back to Bedlam was downbeat and folky in a way that most singer-songwriters are, with a bit of a retro appeal. From a distance, you got kind of an Elton John or Cat Stevens vibe from him. His acoustic-flavored ballads could have been made in 1975... or 1985... or, well, you get the picture.

While the sensitive singer-songwriter will never go out of style, most of them don't have hits like Blunt's "You're Beautiful". The ubiquitous ballad became the first #1 single by a male British artist in a decade. While purists rolled their eyes at the song's sappy lyrical sentiment (fellow British singer-songwriter David Gray called the song "dreadful, staggering nonsense" in a magazine interview), Blunt was appearing on Oprah, selling three million records, dating models, hanging with Puffy and becoming a Hollywood scene regular. Take THAT, brooding songwriters!!

The fact that neither of the two other singles from Bedlam really took hold with a mass audience also means that Blunt is now tagged with the label "one-hit wonder", MTV award and five Grammy nominations be damned. All the Lost Souls is the perilous follow-up release for Blunt. Will this album keep him on the fickle music industry's A-list, or will the sophomore slump wreak havoc on this release and toss Blunt onto the large pile of musicians who have failed to capitalize on initial success?

Well, I've gotta at least give Blunt props for not sticking exactly to the same old same old. All the Lost Souls has a less-folky, more pop/rock vibe, with elements of genres from country to electronica. Part of the album was recorded in the holiday capital of Ibiza, Spain, although don't expect an album chock-full of party anthems. Don't think for a second that Blunt doesn't know where his bread is buttered. "Same Mistake" is a fairly obvious rewrite of "You're Beautiful", only Blunt neglected to write an actual chorus and instead, coos in falsetto for the hook. I found it pretty easy to sing along with-only when I did, I was impersonating a dog howling.

Not to say that this album is awful, but there's definitely something lacking here. Blunt's voice is quite the acquired taste, and nothing on here really stands out or connects from a thematic or lyrical standpoint. Nothing really hits the heart; it's all very precise and workmanlike, and... well, boring, to be honest.

While not particularly exciting, songs like "1973" (the album's first single) at least provide a diversion by offering beats you can tap your foot to. This is a good thing, because the ballads just seem to pile on slabs of corniness and false sincerity. However, I'm not quite sure where Blunt was going with a song reminiscing about the year before he was born. "Give Me Some Love" has a slightly crunchy guitar stomp -- it rocks harder than anything else on the album, which is all relative -- it's like the hardest-rocking song on a Christopher Cross album. However, lyrics like "Why don't you give me some love/ I'll take a shitload of drugs" almost completely capsize one of the album's more interesting tunes, with a Beatles-esque arrangement and even some pedal steel near the end.

While All the Lost Souls will very likely appeal to the exact same folks who made Blunt's first album a success, I listen to this album and can't help thinking that this has all been done before-and better! Tracks like "I Really Want You" just rehash the clichés that singer-songwriters have been working with for the past decade, right down to the faux-electronic embellishments. All of this is to say: there's really nothing that makes Blunt unique, nothing that justifies his standing over the other folks who make similar music. The man got lucky with a hit single, Oprah came calling, and you know the rest. Something tells me that without a perfect alignment of the stars (or another phone call from the Queen of TV), Blunt's going to find that sophomore jinx pretty difficult to beat.

4

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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