Here is the concept: I give myself two weeks to find out as much as I can about a band/writer/director. I immerse myself in their records/books/films. I pick the subject because I am curious about them, because someone recommended them or because someone said, "Wait, you’ve never heard of____?" and I felt like an idiot. I then give an overview of their work. You can decide for yourself whether or not my conclusions are valid for you.
In this edition I decided to learn all about Orange Juice (the band...). Orange Juice because my girlfriend is a fan of their first record, and has played it for me several times. I thought it was good, just not quite striking that chord. Also, Orange Juice get referenced a lot by indie musicians, so they seemed like an ideal candidate for an All About.
First I will give you a brief synopsis of Orange Juice’s career, releases and other activities. Then I will review their records, put them in some context and finally decide whether or not I am now a fan.
Orange Juice sprang up from a middle class suburb of Glasgow in 1976. Edwyn Collins fronted the band and played guitar, James Kirk played guitar and wrote some songs, and the rhythm section consisted of Dave McClymont and Steven Daly. They were the first release on Postcard Records, a small but influential label whose roster included the Associates and Josef K. Their early singles did well in the independent charts. However, the band never found commercial success - despite embracing a commercial sound on their second and third albums - and slowly fell apart, ceasing to exist in 1985. Collins went on to find fame with his solo single 'Never Known A Girl Like You Before'. They have never reformed.
Since I had no finer strategy I listened to the records in order. You Can’t Hide Your Love Forever was released in 1980, and is an unusual mix of styles. The guitars are sharp and snipe at one another while the bass and drums have a definite disco bent. The most distinctive element, though, is Collins’ voice. At first I found it unwieldy; heavy, like a weight being dragged behind the melody. But it grew on me, and now I can say it is a fine voice, full of tone and feeling, perfectly suited to slow ballads like 'Untitled Melody' and 'Mud In Your Eye'. It is not a voice for high-energy songs, so as a result it sounds great when he sings them, strained and fragile.
Because I didn’t appreciate his voice I thought there were no hooks, which is far from true – all the tracks have at least one memorable line. Both Collins and Kirk posses a plaintive way with words, not hung up on being cool. They are new-old romantics, in the mold of Jonathan Richman. You Can’t Hide Your Love Forever is littered with great lines like "I’m not saying we should build a city of tears." Phrases that stick in your head and cause you to think about things differently. The guitars stir me - interweaving, chiming and singing to one another, clean and warm. The bass playing takes a lead role, humming through the high notes, offering stability for meandering voices and guitars. The disco style drums evade me, personally, but they are undeniably effective here.
Then came the disappointment: their second record is crap. James Kirk left the band, taking with him the wonderful interplay he had with Collins. All that sounded natural on the first album is gone, replaced by a sickly synthetic sheen. A few of the songs are strong enough to shine through - 'Rip It Up', for example, is a great opener and has one of their strongest lyrics. "Rip it up and start again," sings Collins, a cool sentiment, but one you wish they had ignored.
I was reluctant to continue, expecting the worst as I moved onto their final effort The Orange Juice, released 1984. Thankfully the production gloss has been toned down, offering a more mature sound, adding rather than detracting from Collins’ compositions. It still grates though, and only sounds good when compared to the second record. It lacks the exuberance and youth of the first album, but of course it would - they were older. It also lacks the charm of the Kirk-Collins guitar partnership. The Orange Juice is passable, but not elevating. If you are really into Collins’ lyrics it’s worth it, although his solo albums are more consistent.
Overall, I found it extremely hard to get in to Orange Juice. First album aside, much of what they do is spoiled by '80s production techniques and an overt aspiration for pop success - something their whimsical style is ill-suited to. The first album is impressive, with its Modern Lovers, Velvet Underground vibe, but I just struggle relate to it. There’s something here that I just don’t understand, and I don’t know if Collins’ lyrics are enough to keep me coming back.
If you like smart, yearning lyrics, The Modern Lovers, sharp guitars and post-punk bass-lines then buy their first record. If you enjoy it, buy the the third record, or one of Collins’ solo albums (Gorgeous George is good). You could even buy the 'Rip It Up' 7”… just don’t get the Rip It Up album. In conclusion, my fandom is probably not going to go beyond letting my girlfriend play the first record while we dance drunkenly around her bedroom.
In the next edition I will be learning all about Television Personalities. See you there.