The closest to a Bob Wratten solo album that will probably ever come to fruition.
With this album, Bob Wratten disregarded any specific influences and simply went where his heart took him. And that was straight into regret. Let's not mix words here: this album is very slow, very sad, very quiet and very wimpy. Pretty much every song here revolves around a recollection of some sort. And furthermore, what he should have done in the scenarios he's recalling. But for all its downtrodden melancholy, it's not nearly as much of a downer as these descriptions suggest. For example, "For This One" —besides being a manifesto for this album, and perhaps the Stars in general— is, quite frankly, an attempt to sound like the Field Mice. And it works. "Abba on the Jukebox" is a weird, dreamy song that rips a melody from the Beach Boys' "Kokomo", of all things. But that also works — perhaps surprisingly well. For the most part, this is sparse stuff. A good third of the album is just Bob and his acoustic guitar. And among those songs —"Less Than Love" and "Nobody But You"— are some of the album's best material. All this moping might wear on some listener's nerves, but this album is far from trying to win Bob any new fans. By the time the album's closer unfolds and finds Bob finally stumbling upon a realization and declaring "I'm sorry. So sorry for everything" it feels liberating, not pathetic. The 2005 LTM reissue adds the shorter single edit of "Abba on the Jukebox" and its b-side "She's Always There", along with a demo of "Less Than Love", all of which enhance the album.
~Austin
An out and out downer. But, man oh man, what great songs!
You could accuse Bob Wratten of being a little too one-dimensional on these early Stars albums, but there's no way you could argue that he's repeating himself in musical terms. Although his subject matter here never really strays, his musical backings are as diverse as his days in the Field Mice. "The Rainbow" is a good example. With the Madchester-influenced drum loop melting together with a backwards-masked guitar riff and deadpan vocals from Anne Mari Davies (temporarily back on board), it sounds like a blueprint for something completely unrelated; like Maxwell's second album or something. Elsewhere, there's straight guitar pop gems ("You've Done Nothing Wrong, Really" and "Letter Never Sent"), twangy folk-rock things and even a dub track ("Never Loved You More" and its sequel). The goofy house track "Tailspin" sounds totally out of place and I can honestly say it's the only song I don't like on this album. Otherwise, this was considered to be Bob's swan song as a musician and the whole thing feels like, no matter how upset he has been, he's finally made peace with his past and ending the record with "Farewell to Forever" was a very theatric and dramatic thing to do. Thankfully, he would return to making records in a couple more years, but these first two Stars records stand as his last truly consistently great material. There would be hints of brilliance to come, but not as frequently as they did up until this point. The 2006 LTM reissue of the album adds the outtake "Though I Still Want To Fall Into Your Arms", which is a nice little country rocker.
~Austin
The Field Mice reunion album. Sort of.
This album was recorded by the final lineup of the Field Mice, except with Beth Azry in place of Anne Mari Davies. And, appropriately, it sounds like an updated, more contemporized version of the Mice, except without any dance tracks. Bob is finding his comfortable niche here as a songwriter once and for all on this album. He still occasionally sings about past regrets and sad things past, but the big difference here is that his muses are different. Where on the first two Stars albums, you knew he was talking about Anne Mari the entire time, so it just felt really desolate and upsetting because he was fussing so much about one specific relationship. But on this album, there's songs like "Sometimes I Still Feel the Bruise" which is the ultimate song of unrequited love. And although the sound of the tune is minor and melancholy, with lines like "I'm under no illusion as to what I meant to you" (which is to say, nothing of any significance), Bob is accepting things and just making a little commentary on them. For the first time since the Field Mice's last record, he sounds comfortable. Most of the songs here revolve around new beginnings and discovery, which makes sense because he and Beth Azry had become a couple. Except for the Talk Talk-aping "Fragile" (a good track), this album is, musically speaking, pretty well-produced, slick middle of the road pop. And maybe that muffles some of the better stuff here, because for the first time ever, Mr. Wratten sounds like he's on autopilot. Like, 'Hey here's some new songs. We just went with the most obvious arrangements, so they all kind of progress the same way, but they're still pretty good, right?' And it will certainly take you a few listens before things start to separate themselves from each other and the songs build identities of their own. Once the album grows on you, it may become a favorite, simply based on the fact that Bob sounds so content with himself. A good album, to be sure, but not a good introduction.
~Austin
A more varied and all around better effort. Still not trying to win over any new fans though.
When this album beats its way through your speakers with "Under Lock and Key", you'll probably be all like, 'Oh heck yes, motherfrumpers! This album is gonna rock like Dio at the Garden in '82!' And that song really does rock. Well, about as rockin' as Bob Wratten gets, anyway. It's not like Sabbath or anything, but it's probably the band's single most dissonant moment. And it's a good song about Bob hating himself because he made his girlfriend cry. 'You've gotta stop fucking her up' are the first words uttered on the album, so yeah (and I think that's only time he's dropped an eff bomb on a record). He narrates, 'Do yourself a favor: start thinking of her' to himself over a noisy cascade of heavy cymbals and tom-toms, with a mumbling, menacing bassline. Good stuff. From there, it's into "With Every Story", which is the first song where the Stars really start to sound like the Cure. It's interesting because Bob W has always played guitar like Bob S, but not on a six string bass. And that song is where he started to. So the similarities really start to show up. But with Beth's background vocals and Bob's deadpan delivery, it never feels like either band is ripping anyone off. They're just similar, that's all. Most of the album deals with the complexities of a heavy relationship, but it's always with an optimistic slant. And the production is more diverse than the last album. "Until the Dream Gets Broken" is a good example of both: a pretty harpsichord-laden duet between Bob and Beth about appreciating love in the moment. "Maybe After All" is a fantastic song that any couple who's had any misunderstandings —ever— should hear. More diverse and not so one-dimensional lyrically, this album is a good transition effort for the band. But, as much as there is here for fans to latch onto, it's another one that wouldn't make a good first impression.
~Austin
The first truly integrated Stars album. It's no longer just Bob's band.
I swear to god, this band has the best opening songs ever. "Helen Reddy" explodes as soon as you press play, sounding like one of the old Field Mice shoegaze experiments. And Bob doesn't utter one syllable on it. It's strictly Beth's song. And man, it totally rocks. The subject matter here is more of the same: reflecting on the ebbs and flows of relationships. And Bob has rarely sounded as sure of himself as he does on songs like "The Rhythm of Your Breathing", "One Prayer Granted" and especially "Hurry Home Through the Crowds" (which I argue is his equivalent to "Just Like Heaven"). The one-two punch of "All Eternal Things" and "The Sea is So Quiet" in the middle of the album reaffirms their Cure similarities with a majestic resonance. The band hasn't sounded this classicist since their Field Mice days, making this album a triumph in all aspects. The album was initially released on the Spanish label Elefant as a twelve track album, but was rereleased in the US on Bar None with the extra tracks from the Southern Skies Appear Brighter EP (which had "Helen Reddy" as its a-side). The Bar None release is absolute greatness and makes for the definitive version of the album.
~Austin
Sweet EP of more greatness.
Essentially the single for "The Sea is So Quiet", the long version is like one of those 'extended' mixes from an old 12" single. The song is stretched out into epic length (seven minutes!) and it benefits all the way around. Although a somewhat superfluous shorter re-recording of the song does kick off the EP, there are four songs that can only be found here and they're all up to the standard of Seven Autumn Flowers, so it's forgivable. Beth's "Through the Silence and Games" is just a nice love song that deals with the uncomfortable-ness that longterm relationships can sometimes present. "Wounded Light" is about Cure-esque as the band has sounded so far. "Branches" is an instrumental thing while the closer "This is Bliss" is another six minute epic. Hard not to highly recommend this one, especially if you dug Seven Autumn Flowers.
~Austin
Best album? This late into the catalogue? You better believe it.
Holy mole` sauce, this band just gets better! Beth's "Idyllwild" deals with the loss of innocence and sincerity that comes with age and it addresses the issue in a very articulate, sympathetic, almost Mark Burgess-esque tone. A wonderful tune. The real important thing about this album is "November Starlings", which is probably the single most Field Mice-sounding thing that Bob has done since... well, since the Field Mice. That glistening 12-string strum and wonderful analog keyboard combine for one of his flat out, hands down best songs ever. Elsewhere, the Cure-ness of the band's recent work pops up on "The Coldest Sky", with its super long vamp of an intro and effects-heavy six string bass. Wondrous. "The Tenth of Always" features a damn fine rhodes piano lead and Motown-ish rhythm guitar accent. And then the whole thing ends with Beth's completely epic and orchestral ode to Oscar Wilde and general lament on the social position of gays on "A Statue to Wilde." Probably the band's most complete and cohesive record so far. It's an absolute smashing victory all around. Hoo hah, this album completely rules.
~Austin
Perfectly complimentary to Last Holy Writer.
Simply four songs that didn't make the album. And all four are wonderful. Beth's title track is a sprightly little number, reminiscent of a more rootsy "Helen Reddy"; a power poppy little jumper that certainly should made the proper album. The rest of the EP's three songs are Bob's and they are all pretty spiffy on their own. "As Easy As Being Alone" is a pretty jumpy little number with a cool retro guitar sound. "Outside Looking Elsewhere" and "And the Silence" showcase a more familiarly slower and quiet side of Bob's writing and close the all-too-brief EP wonderfully. Very highly recommended as a companion to Last Holy Writer. It is a little bittersweet, because in the months leading up Last Holy Writer's release, Bob announced that the Stars had retired from live performances. A shame because they really are on a roll these days. Be interesting to see where the band heads after this.
~Austin
