And Yet More Again...

Actually there’s quite a bit from the past lurking behind that harder edge. The title track comes first, a three and a half minute statement of intent, high harmonies behind Miller’s vocal, a jaunty opener with precise instrumentation. That’s followed by Celebration Song with the high sha-la-sha-la-la-la-la’s as Miller informs that the listener’s in for a good time since the band is gonna play. Maybe they’re not the greatest lyrics you’ve ever heard but they fit the vibe. Paul McCartney’s lurking in the background there as well. Things move up-tempo for Can’t You Hear Your Daddy’s Heartbeat? underpinned by a surging bass line and slick overdubbed guitar work from Miller. Got Love ‘Cause You Need It keeps the jaunty up-tempo thing working, but there’s a touch of menace lurking behind the singer’s message.

Guitar and tasteful piano launch Kow Kow, and while the lyrics are nonsense - seriously, Miller’s never likely to threaten anyone’s position in the list of Rock’s Thousand Greatest Lyricists - but there’s a wonderful little touch in the turn on your love-light middle break that leads into a nicely ranting conclusion before a piano and organ play-out from Hopkins and Sidran that’s nicely restrained. A great track, lyrical nonsense notwithstanding. Seasons isn’t the greatest philosophical statement you’ve heard either, but there’s bright acoustic guitar prominent in the mix

Arguably the closest to a potential hit single on the album, Space Cowboy is another classy track, nicely put together with plenty of interesting touches bubbling under the surface. There’s a strong beat from drummer Davis and a buzzing bass line from Turner-and the main guitar riff has a touch of the Lady Madonnas about it. 

The quirky lyrics are back for bassist Lonnie Turner’s LT’s Midnight Dream, along with some tasteful acoustic slide picking and the high harmonies back in the mix. Solid. There’s a fairly funky drum intro to My Dark Hour, quite possibly the work of a certain Mr McCartney, who’s credited as contributing bass, drums and vocals - that’s certainly him in the scream over the play-out, no one else in rock at the time had quite the same scream - and the riff turned up gain on Fly Like An Eagle a few years later.

All in all, Brave New World is another solid album of classy rock-tinged pop music, and it’s the third in a line of albums that seemed to offer a little more as each one slipped out into the market. The band is tight, the writing credits are shared around (three to Miller, four to Miller/Sidran, one each to Turner and Davis) and the production work (from Glyn Johns) adds a pleasing veneer over the top of the mix.

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© Ian Hughes 2012