, so might need to make a few changes.)
Before you read this review. I should warn you – IT IS LONG! So if you want to save yourself some time, just take my word for it, you MUST buy these CDs
I've been threatening to write this review for what seems like ages – although it can't be that long as I've only had the CD's since Christmas. That said, even though they are mine, I can't seem to pry them out of my wife's hands long enough to do a full write up.
It really does feel as though I've had them forever, because they have the sound and feel of a classic album. You know, the sort of iconic album that puts the act head and shoulders above their peers. Ok, so in this instance it is two albums but I would find it very hard to choose which of the two to review, so I've decided to do both together. You see they each complement the other so well, that to separate them would be like telling half a story.
Bloater's voice is quite unique. If you hear these albums without knowing him, or seeing pictures, then you'd be forgiven for thinking that he was a black artist. His voice is a deep, rough, gravelly one, which sounds as though it's been dragged up through the ghetto, fighting and screaming all the way. He's not a shouter or 'talker ' of songs though, he really sings, pitch perfect, and handles brilliantly all tempos from fast pounding stompers like 'Hey Funky' to slower more thought provoking tracks like 'Rushing To Waste My Time'.
I may come across as a little biased when talking about these releases, and perhaps I am, as I've known Bloater as a good friend for as long as I've been on the Rockin' Scene, right back to the days of the Jive Cats, before that even to The Ant Hill Mob, if anybody remembers that – I think Bloater may have still been at school in those days? In all that time he's been one of the hardest working, constantly performing artists I've known. Always pushing that little bit harder to get things just right, and it shows in the quality of these latest offerings.
If you already know Bloater, then your preconceived ideas may well be out of date. For a start, if you think that his band is just another retro sounding outfit cranking out cover versions of well worn favourites to the jive oriented side of the rockin' scene, then you couldn't be any further from reality. But it's not 'modern' music either. Like his voice, the whole sound of Big Boy Bloater & The Limits is unique, it's not something you can pigeon hole into an existing category – (record shop assistants are going to love this when trying to file it!) You can safely say that on the whole it's pretty bluesy, in fact the first album, simply titled Big Boy Bloater & The Limits has a heavily blues influenced sound, with some classic blues guitar licks throughout, 'Fumble Fisted Fool' , 'Rushing To Waste Time' and 'Rocket Surgery' being prime examples of various tempos,but it's not as simple as that. A lot of the tracks have a good rockin' beat to them, yet don't sound anything like other rockin' tracks. You get a hint toward gospel with 'Sweet & Brown', then a swift move into mid tempo ska with 'My Prayer', then you get a sleazy, exotic garagy sound with 'Get Over That It's Over'
As well as being an incredibly talented guitarist with matching vocals skills. Bloater is also a top notch songwriter and arranger. All the material on these albums is self penned – not a cover version to be found. The words are beautifully weaved and formed with the music with the skill of a master. None of the words seem to be clipped or overly stretched to fit the tune, it may seem like a somewhat pedantic observation, but it is that kind of attention to detail that sets the benchmark. With regard to the arrangements, different instruments have been called in to play on specific tracks to ensure that each one is perfect, and outstanding in it's own right. The castanets on 'I Heard Those Voices Again', the use of piano as lead instrument instead of guitar on 'Rushing To Waste My Time' and the use of those funny clacky / rattley percussion instruments you got in school on 'Get Over That It's Over' all may seem minor details, but just try to imagine the sound without those tiny embellishments and you'll see just how important they are.
From a storytelling perspective, I think The World Explained CD is a fraction stronger. Some of the lyrics reveal a somewhat darker side to Bloaters psyche than I had expected. Some of it like Leonard Cohen seem to tell a little about life on the road as a jobbing musician, other tracks led me to wonder if everything in his life was OK – such is the believability of them. In fact one track 'She Gets Naked For A Living' left me thinking “I wonder who that's about.”, because there is a caustic side to it similar to the story of the Jams 'Butterfly Collector'.
So far I've only mentioned Bloater himself, but of course it's not just about him. The rest of the band is equally important, after all, it's the rest of them that ensure the whole sound is as tight and as professional as it is. So it's little wonder that the rest of the Limits come with some seriously enviable credentials. Dean Beresford and Al Gare for example came up from the original line up of King Pleasure & The Biscuit Boys, Imelda May is a huge hit in her own right, with Matt Cowley and Matt Empson appearing in her band, Matt also featured in Otis Grand as did Mike Peake,and of course The Caezars have been making quite a name for themselves, and appear on the first CD
Initially you may think that the 'Big Boy' in Bloaters name refers to his physical stature. He is, after all undeniably big. However, I think it could be fair to say now, that it could also refer to his musical prowess. If you are an exceptional guitarist, a talented singer or a song writer and arranger of the highest class , then you would still only be one third the musician Bloater is. That makes him pretty big in my book.
