Post by frozenhero on Nov 6, 2019 12:05:15 GMT
I know I've been keeping you waiting for a thorough review of Backbone but I had to deal with some other things. Also I didn't want to toss off a review after one or two casual listens, I wanted to make sure I'd give it a fair chance. Of course I was anticipating the release with mixed feelings; would Quo have to go back to zero after losing one of the two frontmen and the only one besides Francis to have been in the band since the first LP? Or could they continue the rather good streak of albums from 1999 onwards? They were bound to sound a bit different without Rick, but I think they have succeeded in retaining the right to use the name "Status Quo" and use it with a certain amount of pride.
What's also curious is that most songs immediately found their spot in my ranking. That's not to say that some songs might continue to grow on me but I quickly felt which ones I could connect to best.
The fact that Francis wanted to get away from the heavily compressed sound of the last decade filled me with great joy. Even more than that, the fact that a lot of the music was recorded 'live' together means that we get to hear more interaction between the musicians, the guitars in particular. It's a pity they couldn't record the last few albums with Rick like this too. Two guitars spread out in the stereo picture that are being played together - that's what connects "Backbone" with its distant cousin "Rock 'Til You Drop" and, of course, the classic 70s albums.
The cover art is simple but iconic, and the way the title is laid out is a little bit of artistic genius, really. Interesting that the number of vertebrae is different on the CD and the box set...
Waiting for a Woman: There's something charming about how Status Quo, this loud and relentless rock band, open up their new album with the most laid-back song. It gives off a message: We're capable of more than just one-dimensional noise. I suppose you could also say it's a lesson learned from the Aquostic operations (although I still don't know why they could not drop this element into their regular live shows, giving themselves and the audience a bit of a break). And of course it's not really new either, harkening back all the way to the early 70s with relaxed tracks like "In My Chair". Although it's probably not one of their top collaborations, the song displays the typical hallmarks of the Rossi/Young partnership, which include a strong melodic line. There is one little part that sounds like they copied it from their own "All Stand Up", but hey... The guitar solo is quite unusual, not quite Mark Knopfler, but on the way. It's not improvised but very carefully constructed - a method Francis owes to Pip Williams' influence ("For You"). I'm not so crazy about the lyrics, it seems like we should perhaps not dwell on stereotypes like these, but Quo get a pass because they're old geezers. A young band writing lyrics like this would be a no-no!
Cut Me Some Slack: Easily one of the best songs on here. It's funny, even though the Rossi/Edwards axis has given us the most enduring live songs of the new century ("Beginning of the End" and "The Oriental"), and also came up with "Two Way Traffic", they have not written a lot together. But on this album they provide three good songs. Yes, there are shades of "Belavista Man" and "Reality Cheque" (songs that Rhino wrote with Rick), but it also feels like a sped up "Don't Think It Matters" to me, at times. The guitar intro is exciting! Love the little twists and turns, on first listen I was surprised several times by the little breaks. And look how we've got several parts that could pass for a chorus! Great guitar solo of the old 70s type, fantastic groove on the end segment. The only issue: The drums sound too weak and almost like a drum machine. Well, okay, the other issue is that I would've liked another guitar solo on the coda. Why not crash through the 5-minute barrier like in the old days?
Liberty Lane: This is the first song I heard from the album, and hearing the live version of it made me excited about Quo again... after a long time. I think what made me so excited was the driving riff that re-appears several times, and I still think it's the best thing about the song. But the song itself is no slouch either. The chorus is extremely catchy and it makes for one of Quo's best singles. Interestingly, it's not really all that typically Quo-sounding. There's a bit of a 60s vibe to the whole thing, the way the guitar chords are used reminds me of The Who, while the vocoder bits must clearly be inspired by Francis' love for ELO. I do sometimes think... there's more than three chords! Why don't you use them? Another complaint is the shortness; there are two moments which almost sound like edit points. One is the end of the guitar solo, it just sort of drops abruptly back into the chorus - I wish the solo had gone on longer, because there was a nice atmosphere building up there with the keyboards in the background. And at the end they wrap it up too quickly: The riff should have appeared at the end one last time - they missed a trick here.
I See You're in Some Trouble: The opening immediately brings to mind various recent Quo songs. This track wouldn't have been out of place on "Under the Influence" or any following album. It's not reminiscent of the FF at all, but that's not necessarily negative. I like the acoustic guitar & how the different vocal parts are arranged. What really makes it memorable IMO is the sudden change to the "sounds so funny" part, which really does sound funny, and still manages to catch me off-guard. Also, the lyrics are something I can relate to on a personal level. In short, another good song.
Backing Off: Dodgy sound effects introduce... a song I still can't wrap my head around. It's strange, quirky, but somewhat detached and also a bit banal and boring, if you ask me. Catchy, but still... something about it annoys me and I can't quite pinpoint it! The middle part is typically Andy, but another "Another Shipwreck" or "Figure of Eight" (both of which I LOVE) this ain't. First disappointment so far.
I Wanna Run Away With You: Classic Rossi/Young stuff, a cross between "Mad About the Boy" and "It's All About You". Since I like that kind of bluesy shuffle (especially if it's performed with some amount of power), I also like this. The backing vocals are integrated very well here. eclipsed magazine marked this as the top track but I wouldn't go quite as far. Still, a song that manages to keep me interested, and leaves me wanting more. Instead, we quickly drop into...
Backbone: ...the first single. I admit I wasn't convinced the first time I heard it, but the song quickly grew on me. It's actually a mixture of "Down Down" (which it developed out of) and "Bohemian Like You" by The Dandy Warhols (a band that Rhino once saw, and compare: the way the guitar chords are played, the woo-ooo backing vocals and the sneaky organ), but has enough character of its own. I like the subtle bits of lead guitar and how heavy it sounds. Speaking of which, the issue with the snare drum is NOT apparent on this song. In fact the drums sound immense, and so does the bass. I can imagine why the label guy said things like "you can hear the air in the tom-toms". That's what dynamics are for, dear dollar-eyed record company suits and bearded producers! Anyway, it does bother me a bit that it's the same riff/sequence all the way through. Why no middle 8? But clocking in at exactly 3 minutes, it could also be called a modern day equivalent to "Paper Plane" - short and to the point.
Better Take Care: Ending a really great trilogy - those three songs fit together so well. The way they launch into the track just blows me away each time. I'm not necessarily a fan of all John David tracks but this one suits Quo really well. I can't hear the alleged "Sweet Home Alabama" plagiarism, to me the song does its own thing. And then there's the lyrics: It's really worth paying attention to them. The song is very clearly about global warming and the threat it poses. Not to our planet (which has survived worse) but to our existence. I strongly commend the band for recording such a political (if that's the right word...) song. Andy and Rhino get little parts to sing and it works well, although I still think Rhino should also have gotten a lead vocal on one song (I love Bad News & Run and Hide), and when Andy starts, I first thought he sang something like "Ain't no scared of rhinos"!
Falling Off the World: Leon's first song on a Quo album, a shuffle one. I wouldn't say I like it as much as Matt Letley's contributions, but of course it's totally unfair to compare their songwriting since the only thing they have in common is that they play drums. It's OK, really got some nice twists and turns, that unison part and the guitar solo are really good too, but I think the main hook somehow lets it down. Although it's catchy it's also somehow a bit meh to me. Once again, the ending could've been drawn out.
Get Out of My Head: Modern-sounding guitar noises start a much faster shuffle. It's not only Richie's first songwriting contribution but also his first actual lead vocal on here. And wow! Richie really sounds a bit like young Rick, the song brims with urgency and brings in a nice minor key flavour (the kind of stuff Rick was also so good at, right up to "All That Money" from Bula Quo!). Clearly one of my favourites on here, the guitars really have some presence, and how Richie works his name into the lyrics is really clever ("I'm alone again"). Just a shame it's so short again. But I have to applaud Francis for seeing the potential in the song and not interfering with its creation except playing a great, fitting solo.
Running Out of Time: This is a sort of hybrid of Beginning of the End (but clearly not as good) and Looking Out for Caroline. To me, it's musically one of the weaker tracks, although again rather catchy. The fact that it's another song about burning issues of our time (climate change, pollution, abuse of natural resources) gets my respect though. Musically, not a particularly inspired closer, if you have the standard CD, which I don't recommend: Get the deluxe edition!
Crazy Crazy (bonus): Somehow the Rossi/Bown partnership is the one that convinces me the least on this album. Here it's mostly that wobbly vocal over that strange harmonium intro that can be off-putting, the song does improve after that. It was a wise move to relegate this country/folky thing to the bonus tracks, I think, although I personally like it more than the two Rossi/Bown tracks that made the regular album.
Face the Music (bonus): Another song by Richie, but this time sung by Francis (because there haven't been enough Rossi vocals already, or what?). The intro is really great - the first time Quo have sounded anything approaching "funky" since That's a Fact! (Or was it Breaking Away, which is in the same key?) And due to the way the album was recorded, you can hear the interaction between the two guitars: One to the left and one to the right. But afterwards, I hate to say, the song does get weaker with a rather uninspired chorus. I do take note of a pretty neat guitar solo.
It's still not easy for me to judge this album, because I was one of those who liked Rick's contributions to the last few regular Quo albums, and I still think ISOTFC and QPQ are full of great songs. Backbone does have a more natural sound quality in its favor (you can turn it up without listening fatigue - thank Francis for the end of Quo's loudness war, if only he'd realized it earlier), no real low points, and a band that's actually playing together and interacting as opposed to a sound that's constructed from the ground upwards.
I'm not going to go as far as some who've made comparisons to the classic era, but for a band that seemed to be "done", it's a remarkable statement, and very much an album that I can listen to from start to finish.
What's also curious is that most songs immediately found their spot in my ranking. That's not to say that some songs might continue to grow on me but I quickly felt which ones I could connect to best.
The fact that Francis wanted to get away from the heavily compressed sound of the last decade filled me with great joy. Even more than that, the fact that a lot of the music was recorded 'live' together means that we get to hear more interaction between the musicians, the guitars in particular. It's a pity they couldn't record the last few albums with Rick like this too. Two guitars spread out in the stereo picture that are being played together - that's what connects "Backbone" with its distant cousin "Rock 'Til You Drop" and, of course, the classic 70s albums.
The cover art is simple but iconic, and the way the title is laid out is a little bit of artistic genius, really. Interesting that the number of vertebrae is different on the CD and the box set...
Waiting for a Woman: There's something charming about how Status Quo, this loud and relentless rock band, open up their new album with the most laid-back song. It gives off a message: We're capable of more than just one-dimensional noise. I suppose you could also say it's a lesson learned from the Aquostic operations (although I still don't know why they could not drop this element into their regular live shows, giving themselves and the audience a bit of a break). And of course it's not really new either, harkening back all the way to the early 70s with relaxed tracks like "In My Chair". Although it's probably not one of their top collaborations, the song displays the typical hallmarks of the Rossi/Young partnership, which include a strong melodic line. There is one little part that sounds like they copied it from their own "All Stand Up", but hey... The guitar solo is quite unusual, not quite Mark Knopfler, but on the way. It's not improvised but very carefully constructed - a method Francis owes to Pip Williams' influence ("For You"). I'm not so crazy about the lyrics, it seems like we should perhaps not dwell on stereotypes like these, but Quo get a pass because they're old geezers. A young band writing lyrics like this would be a no-no!
Cut Me Some Slack: Easily one of the best songs on here. It's funny, even though the Rossi/Edwards axis has given us the most enduring live songs of the new century ("Beginning of the End" and "The Oriental"), and also came up with "Two Way Traffic", they have not written a lot together. But on this album they provide three good songs. Yes, there are shades of "Belavista Man" and "Reality Cheque" (songs that Rhino wrote with Rick), but it also feels like a sped up "Don't Think It Matters" to me, at times. The guitar intro is exciting! Love the little twists and turns, on first listen I was surprised several times by the little breaks. And look how we've got several parts that could pass for a chorus! Great guitar solo of the old 70s type, fantastic groove on the end segment. The only issue: The drums sound too weak and almost like a drum machine. Well, okay, the other issue is that I would've liked another guitar solo on the coda. Why not crash through the 5-minute barrier like in the old days?
Liberty Lane: This is the first song I heard from the album, and hearing the live version of it made me excited about Quo again... after a long time. I think what made me so excited was the driving riff that re-appears several times, and I still think it's the best thing about the song. But the song itself is no slouch either. The chorus is extremely catchy and it makes for one of Quo's best singles. Interestingly, it's not really all that typically Quo-sounding. There's a bit of a 60s vibe to the whole thing, the way the guitar chords are used reminds me of The Who, while the vocoder bits must clearly be inspired by Francis' love for ELO. I do sometimes think... there's more than three chords! Why don't you use them? Another complaint is the shortness; there are two moments which almost sound like edit points. One is the end of the guitar solo, it just sort of drops abruptly back into the chorus - I wish the solo had gone on longer, because there was a nice atmosphere building up there with the keyboards in the background. And at the end they wrap it up too quickly: The riff should have appeared at the end one last time - they missed a trick here.
I See You're in Some Trouble: The opening immediately brings to mind various recent Quo songs. This track wouldn't have been out of place on "Under the Influence" or any following album. It's not reminiscent of the FF at all, but that's not necessarily negative. I like the acoustic guitar & how the different vocal parts are arranged. What really makes it memorable IMO is the sudden change to the "sounds so funny" part, which really does sound funny, and still manages to catch me off-guard. Also, the lyrics are something I can relate to on a personal level. In short, another good song.
Backing Off: Dodgy sound effects introduce... a song I still can't wrap my head around. It's strange, quirky, but somewhat detached and also a bit banal and boring, if you ask me. Catchy, but still... something about it annoys me and I can't quite pinpoint it! The middle part is typically Andy, but another "Another Shipwreck" or "Figure of Eight" (both of which I LOVE) this ain't. First disappointment so far.
I Wanna Run Away With You: Classic Rossi/Young stuff, a cross between "Mad About the Boy" and "It's All About You". Since I like that kind of bluesy shuffle (especially if it's performed with some amount of power), I also like this. The backing vocals are integrated very well here. eclipsed magazine marked this as the top track but I wouldn't go quite as far. Still, a song that manages to keep me interested, and leaves me wanting more. Instead, we quickly drop into...
Backbone: ...the first single. I admit I wasn't convinced the first time I heard it, but the song quickly grew on me. It's actually a mixture of "Down Down" (which it developed out of) and "Bohemian Like You" by The Dandy Warhols (a band that Rhino once saw, and compare: the way the guitar chords are played, the woo-ooo backing vocals and the sneaky organ), but has enough character of its own. I like the subtle bits of lead guitar and how heavy it sounds. Speaking of which, the issue with the snare drum is NOT apparent on this song. In fact the drums sound immense, and so does the bass. I can imagine why the label guy said things like "you can hear the air in the tom-toms". That's what dynamics are for, dear dollar-eyed record company suits and bearded producers! Anyway, it does bother me a bit that it's the same riff/sequence all the way through. Why no middle 8? But clocking in at exactly 3 minutes, it could also be called a modern day equivalent to "Paper Plane" - short and to the point.
Better Take Care: Ending a really great trilogy - those three songs fit together so well. The way they launch into the track just blows me away each time. I'm not necessarily a fan of all John David tracks but this one suits Quo really well. I can't hear the alleged "Sweet Home Alabama" plagiarism, to me the song does its own thing. And then there's the lyrics: It's really worth paying attention to them. The song is very clearly about global warming and the threat it poses. Not to our planet (which has survived worse) but to our existence. I strongly commend the band for recording such a political (if that's the right word...) song. Andy and Rhino get little parts to sing and it works well, although I still think Rhino should also have gotten a lead vocal on one song (I love Bad News & Run and Hide), and when Andy starts, I first thought he sang something like "Ain't no scared of rhinos"!
Falling Off the World: Leon's first song on a Quo album, a shuffle one. I wouldn't say I like it as much as Matt Letley's contributions, but of course it's totally unfair to compare their songwriting since the only thing they have in common is that they play drums. It's OK, really got some nice twists and turns, that unison part and the guitar solo are really good too, but I think the main hook somehow lets it down. Although it's catchy it's also somehow a bit meh to me. Once again, the ending could've been drawn out.
Get Out of My Head: Modern-sounding guitar noises start a much faster shuffle. It's not only Richie's first songwriting contribution but also his first actual lead vocal on here. And wow! Richie really sounds a bit like young Rick, the song brims with urgency and brings in a nice minor key flavour (the kind of stuff Rick was also so good at, right up to "All That Money" from Bula Quo!). Clearly one of my favourites on here, the guitars really have some presence, and how Richie works his name into the lyrics is really clever ("I'm alone again"). Just a shame it's so short again. But I have to applaud Francis for seeing the potential in the song and not interfering with its creation except playing a great, fitting solo.
Running Out of Time: This is a sort of hybrid of Beginning of the End (but clearly not as good) and Looking Out for Caroline. To me, it's musically one of the weaker tracks, although again rather catchy. The fact that it's another song about burning issues of our time (climate change, pollution, abuse of natural resources) gets my respect though. Musically, not a particularly inspired closer, if you have the standard CD, which I don't recommend: Get the deluxe edition!
Crazy Crazy (bonus): Somehow the Rossi/Bown partnership is the one that convinces me the least on this album. Here it's mostly that wobbly vocal over that strange harmonium intro that can be off-putting, the song does improve after that. It was a wise move to relegate this country/folky thing to the bonus tracks, I think, although I personally like it more than the two Rossi/Bown tracks that made the regular album.
Face the Music (bonus): Another song by Richie, but this time sung by Francis (because there haven't been enough Rossi vocals already, or what?). The intro is really great - the first time Quo have sounded anything approaching "funky" since That's a Fact! (Or was it Breaking Away, which is in the same key?) And due to the way the album was recorded, you can hear the interaction between the two guitars: One to the left and one to the right. But afterwards, I hate to say, the song does get weaker with a rather uninspired chorus. I do take note of a pretty neat guitar solo.
It's still not easy for me to judge this album, because I was one of those who liked Rick's contributions to the last few regular Quo albums, and I still think ISOTFC and QPQ are full of great songs. Backbone does have a more natural sound quality in its favor (you can turn it up without listening fatigue - thank Francis for the end of Quo's loudness war, if only he'd realized it earlier), no real low points, and a band that's actually playing together and interacting as opposed to a sound that's constructed from the ground upwards.
I'm not going to go as far as some who've made comparisons to the classic era, but for a band that seemed to be "done", it's a remarkable statement, and very much an album that I can listen to from start to finish.