John
Lydon:
Psycho's Path
VIRGIN
CDVUS130
Tracks:
(see below)
Running Time: 72.33 mins
(CD & cassette only)
review by Scott
M, August 1997 (First published F&F 3)
© 1997 Fodderstompf.com
/ F&F Publishing
It's been five (!) years since John first announced he was taking time off from PiL to do a solo album, in that time we've had 'Kiss This', an abortive record deal with Atlantic, 'Rotten No Irish', 'Open U'p and even a Pistols reunion! Though it's still been a long five years for PiL/Lydon fans. I knew from Lydon's comments over the last few years it was going to be different, I just wasn't sure how different...
1.
GRAVE RIDE
Quite a mellow start to the album. This like just about every track
on the album is very keyboard/synth based. Slow plodding keyboards with
big drums coming in every so often, and John actually singing! The lyrics
concern a love letter from a condemned man to his soon to be widowed
wife, and his thoughts on the after life (or lack of it) "lets
hope its not a grave".
2. DOG
Mellow melodic keyboards, strange background noises and very repetitive
catchy (yet unsettling) vocals. A definite stab at religion "all
religions are the devils pact".
3. PSYCHOPATH
Slow guitar/synth with very mellow vocals, and again very repetitive
(maybe too repetitive). The lyrics are loosely based around serial killer
John Wayne Gacy, but I think one line suits Lydon perfectly in his Filthy
Lucre pose "psychopath dressed as a clown"! He also
re-uses of the "the most evil thing I can do, is to give my
body to you" line from 'Cruel'.
4. SUN
One of the most easily accessible tracks which is amazing considering
the main instrument is an accordion! According to John the song doesn't
use many musical instruments, and includes cardboard boxes as drums
and him "honking" through toilet rolls! Good solid Lydon vocals
and very catchy. All about missing the comforts of the city "I
miss the car park, I miss the concrete, I miss the city, I miss the
rain and sleet". Brilliant stuff!
5. ANOTHER WAY
A simple song that's a bit too long and doesn't change much. Whistling
keyboards with loud bass and drum loops. John's wailing like a banshee
on this one, but he uses some very irritating sampled vocals and cymbals
that spoil it. Self explanatory lyrics on this one "I gotta
find another way".
6. DIS-HO
One of my faves. Very fast dancey keyboards and drums with John giving
it full belt! Though again its spoilt a bit by sampled backing vocals.
The lyrics are about having a love affair then being "took to
the cleaners", so its time to "heave ho!".
Apparently it isn't based on him, which is just as well as Nora would
probably have killed him for telling the whole world. It'd probably
be a dance hit if it was released as a single.
7. TAKE ME
I thought this would be the single. Definitely the easiest song to get
into, very poppy, a bit like a track off PiL's '9' album. Brilliant
lyrics "I've seen your world don't want nothing in it".
Steady drums with excellent background keyboards and good solid Lydon
vocals.
8. A NO AND A YES
Steady plodding bass with loads of brilliant synth effects. Brilliant
vocals too. A song about not sitting on the fence and having your own
opinion (for which I recommend your own fanzine).
9. STUMP
Probably my favourite. Fast melodic keyboards with some eastern style
guitar and background snyth noises. Brilliant talking style vocals with
equally brilliant lyrics about stupid ignorant people, "could
you ever, ever see a thing right through, or take maybe an individual
point of view", "when you couldn't put sense in a sentence".
Excellent stuff!
10. ARMIES
An anti-censorship song. Pumping keyboards with strange background noises
and weird echoing vocals along with cavalry style trumpets. "the
scissors are coming to cut out your heart, the censors are pointing
before you can start".
Bonus Remixes
11. OPEN UP - CHEMICAL
BROTHERS MIX
This
is an edit of the version that originally appeared on the 1993 remix 12".
Its totally different to the original Leftfield version and features the
Chemicals trade mark drums and scratching, along with a kind of reggae
style bass line but very few lyrics. It's ok, but not as good as the original.
12. GRAVE RIDE - MOBY MIX
The first of the new mixes. Totally different to the original. A very
dancey version with big drum loops and a sort of phasing (that's the best
word I can think of!) keyboard style, but very few vocals. I reckon they
could put this on in a club when your pissed and you'd never know who
it was!
13. SUN - LEFTFIELD MIX
The single. More of a souped up production than a remix. Not really that
different just a few things like louder drums and extra synth noises.
Although I would say I maybe prefer it to the original (just).
14. PSYCHOPATH - LEFTFIELD MIX
A more sinister version than the original. Again totally different. A
slow moody start with dramatic keyboards that bursts in with fast drums
and excellent background synths. I'm not sure if I prefer this version
or not.
15. STUMP - DANNY SABER MIX
Another totally different version, and I'm pretty sure its also a different
vocal take too. Pulsing bass line/snyth with some distorted guitar, background
sabre (sword) noises and a vocal track that sounds like its been recorded
from a scratchy piece of vinyl. Good, but not as good as the original.
Well that's what I thought. To be honest it wasn't as "far out there" as I thought it might have been. Its nowhere near as inaccessible as the press made out, and if Virgin had pulled the finger out could have been reasonably succesfull. The album has a very mellow start and a very simple feel to it that will take a few listens to get into (but all the best stuff always does). To be honest I don't think its the best thing he has ever done, but its certainly not the worst. Some of it is brilliant but unfortunately some of it is only average. Definitely worth getting if you have an open mind and realise there's more to music than fast tinny guitars and shouting, because its certainly not that!
I'm not over keen on the front cover colours but the rest of the packaging is quite good. The booklet contains hand written lyrics and doodles by John along with additional colour prints and photos of the covershot, which are also featured on the CD and the inside cover.
JL 97 © unknown
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