Review: Dave Gahan & Soulsavers, ‘Imposters’ – An Intimate Albeit Mellow Album of All Cover Songs

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There was a virtual smorgasbord of music released yesterday, November 19th, 2021. Enough music to keep your intrepid blogger and bourbon enthusiast busy through Christmas. I may need to buy my own barrel of whiskey to get through the holidays… but that has more to do with relatives than music… While there is plenty to be happy about from yesterday I was set on a course to explore Depeche Mode frontman Dave Gahan and his partners the Soulsavers’ new album Imposter. I haven’t seen this record get a ton of attention, so enter B&V. There will be plenty of time for me to “catch up” and write about those other new LPs.

As long time readers know, it was the Rock Chick who turned me onto Depeche Mode. I have to admit, before meeting her I only knew the song “Personal Jesus” and I’m embarrassed to admit that I only knew that from the black and white video. When that song came out in 1989 I was in exile in Arkansas and only got new music from gads, MTV. That’s probably the only reason I’d heard the song. Depeche Mode’s dark synth rock wasn’t getting a ton of airplay in Northwest Arkansas. You were more likely to hear Micheal Jackson or Madonna on one hand and Foghat or Bad Company on the other. Not that there was anything wrong with Foghat or Bad Co. It was pop or classic rock in Fayetteville, Arkansas with nothing new and current on the rock n roll radio station. Had I stayed there I’d have certainly missed the whole Grunge thing.

When I met the Rock Chick she’d just gotten out of a relationship with a guy who was musically barren. He didn’t go to concerts or own any CDs. When I met someone in the old days I didn’t judge them by what they did or what they stood for, I judged them on their music collection. The first thing I did when a woman invited me to her place was look at her CD rack. When I came along it was like the Rock Chick had this musical awakening. Don’t get me wrong, she was already the Rock Chick, I just sort of helped her re-engage. It was on one of our first dates that I realized I could take her to the record store and we could browse and buy in the same way my old friend Drew and I used to do in college. A record store, with a chick? Oh, yes, sign me up. That first trip to the music store the Rock Chick bought a stack of CDs. She was collecting them in her arms like she’d just escaped from a gulag. They should have charged her by the pound vs the disc. We rocked out on that music purchased over the course of a few hours for years and years.

While she bought a bunch of CDs that ended up helping me reconnect with bands I’d drifted away from – Motley Crue, AC/DC, and Green Day just to name a few – one of the main purchases she made that day was Depeche Mode’s double-disc retrospective greatest hits The Singles 86-98. I had no history with that band. I remember thinking, “Oh, it’s the “Personal Jesus” guy.” I was, as usual, curious about their music but she rarely played that CD. She used to insist you had to be in the “right mood” for Depeche. I assumed that like olives, they were an acquired taste. I tried to put them on during her ritualistic “Saturday House Cleaning” – the Rock Chick is nothing if not organized – and she came sprinting down the stairs to make me change the music.

Eventually, and I might have been alone at the time, I started listening to those two discs and I was blown away. What a great band and I had been utterly unaware of them. Eventually I picked up their best known record Violator. At that point I was hooked. One of the main things that drew me in, besides the songwriting by (mostly) Martin Gore was the towering voice of Dave Gahan. Hypnotic and seductive it was that voice that made me a Depeche fan. Over the years I’d notice their albums started to appear at the house. Over the years the Rock Chick brought home Playing The Angel, Sounds Of the Universe and finally Delta Machine which I really connected with. Delta Machine was the first overt connection I heard in their music to the blues. And, as is well documented in these pages, everything I like leads me to the blues eventually.

It was in 2015 that I first heard a Dave Gahan solo song. I had no idea Gahan had a solo career. My ignorance was not blissful. Anyway, I heard this song “Shine” and I really dug it. There was a gospel vibe on the thing. I found out it was from an album named Angels And Ghosts, that Dave recorded with collaborators the Soulsavers, multi-instrumentalists Ian Glover and Rich Machin. At the time they’d already done an LP together but it was more Gahan grafting his vocals over their already written tracks. Angels And Ghosts was a real triumph and a true collaboration between Gahan and the Soulsavers. I went back and listened to the whole thing this week and thought, I need to listen to this album a lot more than I do. “My Sun” is a classic track.

While it stands out on its own right, I will fully admit that Gahan solo LP made me even more excited for that next Depeche album. In 2017 they put out what can only be described as a late-career masterpiece, Spirit. That album is an absolute classic. Musically and lyrically it was a tour de force. I was lucky enough to see them twice on that tour in both Denver and then in Tulsa. Although admittedly, the Tulsa show was like going to a Goth rave at an LGBTQ bar in the basement of a church. It almost felt subversive to be there… It was over the course of those two concerts that I realized that Dave Gahan was simply one of the most charismatic frontmen in rock n’ roll. The guy doesn’t get the credit he deserves. He was like a hipster preying mantis grooving all over the stage.

It was a few weeks ago that I heard that Dave had teamed up with the Soulsavers again for an album of all covers, Imposter. I’m on record as a fan of “cover albums.” Many bands do covers songs but it’s rare that bands will do an entire LP of covers. Although admittedly, there has been a ton of cover LPs this year: The Black Keys, Chrissie Hynde, and Plant/Krauss to name a few. I read on line that Gahan was describing this as an intimate record where he tells his story using other people’s songs. Cover albums are like getting a two-fer… you get the artist whose singing them but there is a connection in the music to the original artist. I will admit, a covers LP is only as strong as the material chosen.

As has happened several times this year, I will admit up front that I like the last album from Gahan & the Soulsavers more than I do this one. At first listen this album is a bit monochromatic and could be considered slightly somnambulant. It doesn’t have the variety of sounds nor the upbeat moments that drove Angels and Ghosts. At first listen this is a really mellow record. Although the more I listened to it and the more time I spent with this week it did reveal its charms. Its a good record for that late night, sitting up with a tumbler of bourbon while doing some heavy contemplation. And let’s admit it right up front – Dave Gahan could sing the phone book and pull it off.

As with any album of covers songs I’m drawn to the material I’m familiar with. I had no knowledge of the first single, “Metal Heart” but its the most rocking moment you’ll find here and I really liked it. It’s a track by Cat Power who I’ve merely heard of, not heard. But as I explored the track list I did see some familiar tracks. My favorite, as would be expected is the Dylan cover, “Not Dark Yet.” There’s been a lot of great Dylan covers this album, from the aforementioned Chrissie Hynde album to David Bowie. I was familiar with the song “The Dark End of the Street” written by Chips Moman and Dan Penn from the version Gregg Allman did on Searching For Simplicity. I have to admit Gahan does it just as well as Gregg and that is high praise indeed. “A Man Needs A Maid” the Neil Young orchestral epic was a nice surprise. I really like this version. For reasons unclear Gahan chose to do the old Nat King Cole chestnut “Smile.” I despise that song no matter whose at the mic. The album ends on the Elvis track “Always On My Mind” and I admit, I liked it.

I really liked the track “Strange Religion” and somehow guessed it was a Mark Lanegan track. The Soulsavers have worked with him in the past and I just knew immediately that lyrically it had to be him. “Lilac Wine” was a miss for me… as any Eartha Kitt song would be. “I Held My Baby Last Night” an Elmore James blues tune is another great moment here. I like the opening salvo of guitar on that one and Gahan goes into a deep bluesy growl. “Shut Me Down” is another gauzy track that makes my mind drift a bit. It was nice to see a Gene Clark track here, “Where My Love Lies Asleep,” but again following “Shut Me Down” it makes for a pretty mellow back to back listen. PJ Harvey’s “The Desperate Kingdom of Love” sparks a bit of excitement toward the end of the album.

The listening experience for me, was bit of a start/stop experience. There’d be a track I’d really like and then a track that sort of sent my mind a’wandering. The thing that really holds it together is, as you’d expect, Gahan’s voice. This album really makes me want a Depeche album. I want to hear Dave singing Martin Gore tracks, not Nat King Cole. That said, I can’t completely dismiss this record. While I wouldn’t recommend it to anybody but true fans (like myself) there are enough high points that I think everyone should give it a spin or two, especially after the sun goes down.

Cheers! And Happy Thanksgiving folks.

Concert Review: Depeche Mode, Denver, August 25th, 2017: Mind Blown!

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*photo taken by your intrepid blogger with his crappy phone, while standing behind the tallest man whose ever attended a concert, who was naturally sitting right in front of me

One of the first books I read, that wasn’t assigned to me by a high school or college teacher was Jack Kerouac’s On The Road. I don’t know if it was reading that book that led me to an absolute love of driving long distances or that it came to me naturally. I’m lucky in my marriage to the Rock Chick in many ways, but one of the things I love the most is that she too loves the open road. I was also very lucky that when she entered my life, she turned me on to many great bands that were outside my typical blues-rock-guitar construct. Depeche Mode is a great example of one those wonderful bands that the Rock Chick turned me on to. Depeche isn’t just a great band, the more I listen to them, the more I realize they’re also an important band…

When I read that they were touring, which they only seem to do every four years or so, in support of their fabulous new album ‘Spirit’ (reviewed previously, LP Review: Depeche Mode’s ‘Spirit’ – Simply Put, An Immediate Classic ), I felt it was a big enough deal that I was ready to travel to see them if they skipped Kansas City. As it turned out, I was lucky enough they were hitting Denver, Colorado which is easily within driving range. When I approached the Rock Chick about the idea of driving out to see them, she embraced the idea whole-heartedly. So much so, that I didn’t even get to do any of the driving. I sat in the passenger seat and DJ’d. Well, on the way out there I DJ’d… on the way home Monday I was sleeping off what the medical profession calls a “hangover.”

As I mentioned earlier, since 1993’s ‘Songs Of Faith And Devotion,’ Depeche have been on basically the same repeatable cycle. They record/release an album, tour and then take a year or two off for solo projects. They’re like the US election cycle in that each successive album comes out every four years. With gaps like that between albums, when they do tour, it’s kind of a big deal. I am so delighted I got a chance to see lead singer Dave Gahan, guitarist/keyboardist/vocalist Martin Gore and keyboardist Andy Fletcher perform live. (Depeche also have a couple of additional musicians who tour with them, I don’t know if you’d call them “sidemen” as they also play in the studio with them… Christian Eigner plays drums and Peter Gordeno plays additional keyboards and bass guitar…) I actually can’t believe it’s taken me this long in my rock and roll career to see these guys. Of course they were always classified as “synth rock” or “alternative” and it took me a while to discover their deep catalog.

This was a great concert. Any more, when I see a more mature act, who’ve been around for twenty or thirty years, I sometimes just see a greatest hits show. There’s nothing wrong with that but when a band of the stature of Depeche has put out a masterful album like ‘Spirit’ I go into the show hoping to hear quite a bit of the new album – you know, like it was in the old days when bands wanted you to hear the new stuff…. I’m starting to sound like my dad here…. I’m afraid I’m going to start yelling at kids to get off my lawn, but I digress. I needn’t worry about Depeche Mode. To my delight, they played almost half the songs from ‘Spirit.’

When the lights went down, and the enormous video screen behind the band lit up, a wild, colorful display, the band took the stage to a recording of The Beatles’ “Revolution.” When the recording stopped the band launched into one of the great new tracks from ‘Spirit,’ “Going Backwards” which was just a great opening. The band started the song and suddenly I saw a lone silhouette behind the band, in front of the video screen on a hidden walkway… Dave Gahan was in the room, people! What a great entrance! “Going Backwards” was followed by another new ‘Spirit’ song, “So Much Love.” I was so happy that they led off with two new songs. I realized any worry that they’d gloss over the new stuff quickly dissipated.

After that opening duo of songs, they played a great version of “Barrel of a Gun” and then went right into “A Pain That I’m Used To.” ‘Spirit’ can certainly be read as a commentary on the current political conditions in the world. And while Depeche has never been explicitly political, like say, Roger Waters, one could interpret the song selection, like “Corrupt,” or “Everything Counts” as an inspired selection that by itself comments on the current zeitgeist in the world, and especially America. There were so many great moments. “Where’s the Revolution,” the first single from ‘Spirit’ was especially rousing. “Never Let Me Down Again” and “Wrong” were both inspired performances.

The stage, other than the giant video screen behind the band, was fairly spartan. There were two synthesizer stands where Andy Fletcher and Peter Gordeno both stood (Fletcher to the right, Gordeno to the left as you face the stage). There was a third synth stand that they’d pull out when Martin Gore switched from guitar to keyboards. It looked like what I would imagine Kraftwerk’s stage would have looked like in the 70s. Gordeno would occasionally come down and play bass guitar for a song or two, the guy is like a great utility infielder. In the middle of the stage was Christian Eigner’s drum kit… Eigner may be the unsung hero of the show – his drumming was loud and powerful. It really was a great engine that drove the songs into harder, more rocking arrangements. He’s a strong drummer, something every band should have.

Martin Gore was to the left side of the stage and as I mentioned, he alternated between guitar and keyboards. I had a fucking behemoth standing in front of me, so it was hard for me to see how Gore was playing guitar. The guy makes playing look so effortless, yet puts out so much great guitar sound, a bit like the Edge. I don’t think he uses a pic, and I couldn’t see if he was using a bunch of effects pedals. It looks like he’s plucking the strings with just his thumb and forefinger but that can’t be right, can it? He plays a beautiful selection of guitars, including a gorgeous Gretsch White Falcon. I still don’t know how he gets that sound. He took lead vocals on several songs. “Question of Lust” was actually just him singing to the piano accompaniment of Gordeno. It was a lovely song and Gore seemed almost fragile in his delivery. I was worried it would be like when Keith Richards sings with the Stones and everyone would head to the bathroom. Not so when Gore sings, the fan base, and the Pepsi Center was full, was totally embracing of Gore. Everyone loved his lead vocal. From “Question of Lust” they brought the band back and Gore sang “Home” which may be my favorite track with his lead vocals. He’s a talented man.

There are not many people who I would personally describe as a Rock Star. Dave Gahan is on that short list. I’ve always loved his voice, and believe me, his voice was great and strong during the show. Seeing him live, with his charisma on full display was something else. The guy was all over the stage, waving his arms, getting the crowd to clap their hands. He was reaching into the crowd and shaking hands, pointing to people in the stands. He revved the crowd up like few front men know how to do any more. He could belt out the rockier stuff and still capture the nuance of some of the mellower tunes. There was a ramp out into the crowd, to the right side of the stage, where my seat was, and he kept walking down there and the crowd would go nuts. He made the giant arena feel like an intimate club. And talk about “moves like Jagger…” The guy danced, clapped and shook his ass jokingly at the crowd. The Rock Chick looked at me at one point and said, “The Brits really know how to do the front man thing better, in ways American bands just don’t get…” True that, honey. My only complaint is that other than the occasional “thank you” Gahan really didn’t say anything to the crowd. Neither did Gore for that matter… not that musicians have to speak during a show, but I’d have liked a “good evening Denver…” but that’s probably just me.

The crowd was at a fevered pitch as the band left the stage after the main set. Depeche’s music is often described as “dark,” and I’d agree with that (as would likely some of the tattoo’d, goth, provocatively dressed ladies in attendance at the show) but they delivered the music with such a strong sense of joy, it’s hard not to hear the hope and the defiance in this music too. For the encore, Gore came out and did another voice with piano only version of “Somebody” and despite it being a mellow tune the crowd went nuts. Gahan returned and sang “Walking In My Shoes” which was one of my favorite performances. The next song was the only cover of the night. The band did Bowie’s “Heroes” which was the song Dave Gahan sang at an open mic night that landed him in Depeche Mode in the first place. I just love that story. You can draw a pretty straight line from Bowie and his influence to Depeche Mode, just like you can draw a line from Depeche to say, Arcade Fire. It was such a nice tribute, I hope some version of that song gets released.

They finished with an almost industrial, hard rock version of “I Feel You” that was so strong it almost sounded like they were channeling Nine Inch Nails. They wrapped the evening with “Personal Jesus,” which was perfect. And with that, a wonderful two hour and fifteen minute show had come to a close. I’d been on my feet dancing behind a giant for over two hours but I felt great.

The principal members of Depeche have been through so much in their history: Martin had issues with alcoholism and seizures; Fletcher had to drop out of a tour for a depression he described as “mental instability”; Gahan of course, overcame heroin addiction so bad he actually died for a few minutes like Nikki Sixx… To see them now delivering such a forceful, joyful evening of rock and roll is a real treasure. If you’re lucky enough to be in a city that they’re playing, buy the ticket. I must admit I’m still baffled they chose to play Salt Lake City, not that there’s anything wrong with SLC, and not play Kansas City, but hey, I love the road too…

Cheers!

LP Review: Depeche Mode’s ‘Spirit’ – Simply Put, An Immediate Classic

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It’s early, but the album of the year may have come out on St Patrick’s Day this year… namely, Depeche Mode’s new amazing album, ‘Spirit.’ I’ve waited to post this review because I was so blown away I wanted to spend a good long time with this record to make sure I wasn’t overstating that… I am not.

During the 80’s and 90’s I was still focused on more traditional classic rock. I was into blues rock, heavy metal and hard rock (well, and Fleetwood Mac, blame Stevie Nicks). Sure, in the 90’s I stretched out to grunge, punk and “alternative rock,” but it was from the same school of music. Dark, synth-rock with songs containing themes that seemed to indicate behaving very badly with drugs or a lover could be deeply seductive and alluring hadn’t punctured my consciousness quite yet. I don’t know, maybe I’m a late bloomer….Heaven knows, I was familiar with that ethos, but those records are sealed. With that backdrop, I will admit I wasn’t that into Depche Mode. I knew who they were, a few tracks had penetrated my more “traditionalist” rock bubble, “I Feel You,” or “Personal Jesus.” Most likely the stuff that had distinctive videos were the songs I was familiar with.

All that changed when the Rock Chick entered my life. Depeche was always a favorite of hers. She was slow to turn me onto them, telling me one time, “you have to be in the right mood for Depeche…” Maybe she just thought I wasn’t ready yet… I was immediately pulled into Depeche by the seductive voice of Dave Gahan, the group’s front man and lead singer. However, just as seductive and alluring were the musical soundscapes guitarist/songwriter Martin Gore created. The 1990 LP ‘Violator’ is largely seen as their “magnum opus,” their creative high point. I will say, the latter half of these guys career has been more fruitful than most bands with half their lifespan. Their latter work is one of the reasons I started B&V.

In this millennium, 2001’s ‘Exciter’ was a fantastic record, almost on par with ‘Violator.’ While their ’05 LP ‘Playing the Angel’ wasn’t as good, it contained one of my all time favorites songs (that’s songs, not just Depeche Mode songs) “Precious.” That song never gets old. I enjoyed ‘Songs of the Universe’ but was really into ‘Delta Machine’ which introduced a more bluesy element to their music, especially Martin Gore’s guitar sound. Martin doesn’t get the credit he deserves as a guitarist. His playing is very atmospheric, almost like U2’s the Edge. Needless to say, excitement was running high when I heard they would be returning in 2017 with this new LP ‘Spirit.’ It will become cliche, I think, in most reviews to say that ‘Spirit’ is “the best DM album since ‘Violator.'” In my opinion ‘Spirit’ may be just as good as ‘Violator’ which is pretty amazing for a group this far in.

We live in very troubled political times, from Trump in the US to Brexit to Nationalist movements across Europe. I wondered if, like the Sixties which were tremendously turbulent, music and art would incorporate that unrest. I don’t have to wonder about that any more. ‘Spirit’ is nothing if not a political broadside. The turbulence in the world seems to have really inspired Depeche. Although, this is not a totally political record. Don’t be fooled, there are still some great, rocky, sexy tunes.

The first 1/3 of the album is a fantastic, political statement. “We’re Going Backwards,” followed by “Where’s the Revolution” set the tone right off the bat. Both songs have an almost martial feeling, like you could turn it up and march in the streets to the music. Yes, indeed there will be dancing at this Revolution. “The Worst Crime” could be interpreted as an indictment of those of us out there who didn’t get involved in the political process and allowed some of this unprecedented shit to happen. “Scum” is a great guitar/distorted challenge, “Pull the trigger” growls Gahan in a distorted voice. It’s a great song. “Eternal” reads to me like a father promising a son to protect and love him forever, no matter what comes next… or maybe he’s talking to a lover. The point’s the same, we need to stick together. “Cover Me” is another great song that builds and builds. When, in “Cover Me,” Gahan sings, “We better take cover, will you cover me…” it sends chills up my spine.

“You Move” is just a great Depeche song that’ll get you moving… It drops the political themes and gets you up on your feet. “Poison Heart” is a great upbeat break-up song, if there is such a thing. “So Much Love” can be seen as defiance from the downtrodden, “you can’t shake me, you can despise me,” or just a statement of hope, “there is so much love in me…” The track near the end, “Poorman” picks up the political and the personal again, with the lyrics “Corporations get the breaks, keeping almost everything they make,” but makes it personal, when pointing out the Poorman of the title, “he’s on the street, laying in the snow and sleet.”

This is heady, politics mixed with personal, music. There are so many layers lyrically and musically. It’s truly a work of brilliance. The political themes of the record come off with an almost joyful defiance. The only songs where I truly hear despair, or perhaps a flagging of hope, are “Eternal” and the final track, “Fail.” I look at those songs as almost a warning to not give up the fight.

When most people think of music like this they think of Dylan with an acoustic guitar and searing harmonica. This couldn’t be farther than that. It still has the smart, thought provoking lyrics but with that great Depeche template of moody guitars and swelling synths. I can’t say enough about the interplay of Gahan’s beautiful voice and Martin Gore’s atmospheric guitar playing. And I would be remiss if I didn’t mention keyboardist extraordinaire Andrew Fletcher.

I was somewhat surprised to hear some of these dark political themes on a Depeche album… but when I think about their history of dark music with heavy themes, maybe this shouldn’t have been such a surprised. Maybe the darkness in the world just finally caught up with Depeche Mode.

This is a very strong recommendation to buy this record immediately. Play it loud, groove to the music but be sure to listen closely to the lyrics…

It’s a dark ride out there folks. Stick together and take care of each other… “The train is coming, so get on board…”

Charity Single/Bowie Tribute: “Cat People” feat: Dave Gahan, Mark Lanegan

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 “And I’ve been putting out fire…with gasoline”

It would be virtually impossible for me to pick a “favorite” Bowie tune. But perhaps influenced by the film starring a comely Natasha Kinski of the same name, “Cat People” was always a particular favorite of mine. There was something about that tune that always hit me hard… perhaps it spoke to the urgency of being in my late teens when I first heard it? I can still remember the first time hearing it playing over the credits as the movie ended and thinking, “what is that?”

Bowie recorded a different version of the song for the album “Let’s Dance” but when I first heard that version, I knew something was different. The guitar had been punched up and the percussion was different. It was still a great version of a fabulous tune, but something was missing. I didn’t hear the original version until the second semester of my freshman year, the one I commonly refer to as “the dark semester” when I changed colleges, for a chick no less, and moved in with a man that I still consider, to this day, to be a sociopath. I mean, I’m no doctor, I’m just a bourbon drinker but in my opinion this guy’s lack of empathy or conscience at least puts him on the sociopath scale.

We were talking one day about Bowie and I mentioned I loved the tune “Cat People,” which most people considered obscure. Out of nowhere he produced the soundtrack album, with that fabulous picture of Kinski’s head and shoulders, soaking wet in the rain with eyes glowing green…Oh yes, Natasha, I still see you in my mind… er, uh, I digress. When he put the album on, my mind immediately returned to hearing the song in the theater. The slow build at the start, Bowie’s painful, plaintive howl as the guitars kick in when he screams “with gasoline,” followed by those fabulous, tribal drums in the background. Chills still go up my spine. I actually stole that album from him… maybe he wasn’t the only sociopath in the room… Don’t judge me… I fully admit to having a problem when it comes to collecting music.

Now, on the heels of the tragic loss in January of the icon himself, David Bowie, comes a version of the song from Martyn LeNoble and Christian Eiger. I couldn’t help but think, when I read about the cover song, “the balls on these guys.” It’s a pretty risky chance to take to cover one of Bowie’s most idiosyncratic tunes. The recording was made both as a tribute to Bowie but also for a charity benefitting liver cancer research. I had never heard of LeNoble or Eiger but apparently they have connections to the Soulsavers and Depeche Mode respectively. For the most part the vocals are handled by Screaming Trees vocalist Mark Lanegan. I was not familiar with Mr. Lanegan or any of his previous work, but I might suggest he haul Tom Waits in for a DNA check because I think he might be Waits’ illegitimate son. And yes, Dave Gahan’s majestic voice is on the tune, but it merely sweeps in at the end for the counterpoint chorus of “been so long, so long, so long…”

I approached this song with caution due to my reverence for that original version that I hold so dear. I must admit, I love what these guys have done with the tune. I read it described as “bluesy” but I think the more proper term is “swampy.” This version is less dramatic than Bowie’s but they capture the longing and the need almost as well in this slow boil version. Lanegan’s vocal turn is especially on point. He captures the burning desire perfectly with his gravelly voice. The song has an almost menacing undercurrent that really grabbed me. At first I was disappointed Gahan didn’t sing more on the song, but his use at the end to sing the chorus back and forth with Lanegan is the perfect crescendo, as if Gahan was an angel answering Lanegan’s demon… or maybe I’m reading too much into it.

This is a great tribute to David Bowie and a great song to boot. And, the cherry on top, it was done for charity. So spend a buck, pour someone you love (or someone you want to love) something strong and whisper, “you wouldn’t believe what I’ve been through…”

You can find the tune at this link:

http://martynlenobleandchristianeigner.bandcamp.com/

Cheers!

Review: Dave Gahan & the Soulsavers “Angels & Ghosts”, the hauntingly beautiful new album

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Shortly after I moved in with the Rock Chick, before I knew what was happening, Saturday became “clean the house” day. As a bachelor I had always taken a more casual approach to housework. Well, I probably took a more casual approach to all manner of hygiene, but as usual, I digress. During these Saturday “house cleanings” I would demand that rock and roll music be played in some form. Typically the Rock Chick would let me pick the music, but retained veto power. I had been playing the same few albums for quite a few Saturdays when I spotted a greatest hits album of hers, “The Singles 81>98” by Depeche Mode. I had really never listened to them and thought it would be a nice change of pace. I threw it on the stereo and before the first song had reached the chorus the Rock Chick shouted from upstairs, “Whoa, whoa, do you have any idea what you’re doing? You have to be in a certain mood to listen to Depeche Mode…” I guess cleaning the house isn’t the time for dark meditations on faith and heroin addiction. Who knew?

I really grew to like Depeche Mode, who I had largely missed out on during the 80’s and 90’s. Sometimes a great band will slip by me. “Violator” from 1990 is probably the masterpiece in my estimation but there is a lot to like in their catalog. Similar to the Cult, who I’ve written about in these pages, Depeche has put out some very strong late career albums in this millennium. “Playing the Angel” (2005) was extremely strong and the song “Precious” from that record remains a favorite of mine. They followed that up with “Songs of the Universe” (2009) and “Delta Machine” (2013). I loved “Delta Machine” as it was their most outwardly bluesy album to date. Everything I seem to be drawn to is rooted in the blues somehow.

I read in a recent interview with, of all people, Billy Gibbons of ZZ Top. Billy mentions that he was also a huge Depeche Mode fan. In the 80’s he went to a show and went backstage to meet the band. I can’t imagine what these English synth-rock guys thought about Texas’ guitar wooly-mammoth coming in to tell them he dug their music, but I wish I’d been there. Billy says he could hear the blues in their music even way back then. He’s clearly got a better ear for this than I do.

I’m not a huge synthesizer fan, but I love the musical landscapes Depeche has carved out. Martin Gore is a very underrated guitar player. In the Billy Gibbons interview he said all Gore wanted to talk about with him backstage was guitars, he was trapped under all those synths. Poor guy. The thing that always draws me to Depeche Mode’s music has been the sultry, seductive voice of Dave Gahan. If silk sheets could sing, they’d sound like Dave Gahan, smooth and sexy. We bought the “Touring the Angel: Live in Milan” concert video and Gahan proves he’s one of rock’s great front men. The guy is as charismatic as hell.

I just found out that Dave Gahan has teamed up with a couple of guys who call themselves the Soulsavers. They have just put out what is apparently their second album together, “Angels & Ghosts”. This album is a hauntingly beautiful gem of a record. It’s only nine songs long but they leave an impact. The album is so short it feels like a 70’s throwback. While the Soulsavers carve out a similar brooding, eery landscape they do it with bluesy guitars and strings. The album even has a few songs with a soaring, almost gospel-y backing vocals. It’s a perfect backdrop for Gahan’s amazing vocals.

The album starts off with a bluesy/gospel tune called “Shine”. Gahan is calling all the sinners to the church of rock. I love this tune. The album then slides into a slippery blues tune, “You Owe Me”, that might be Gahan’s best vocal on the record. It’s followed up by two great songs “Tempted” and the first single, “All of This or Nothing”. It’s an amazing start to a record.

“Don’t Cry” is a hypnotic tune that starts off the second half of the record. That second half is a bit mellower than the first half of the record. You’d be tempted to say that it peters out were it not for the beautiful, cinematic closer “My Sun”. Actually the fact that this record is only 9 songs is probably a strength. Any more would have been too much.

As the Rock Chick once said, “you have to be in the mood” for this music, but who isn’t in the mood for some hypnotic blues sung by one of the greatest singers of all time? I dare say Dave Gahan is the greatest “crooner” to come along in rock music since Jim Morrison of the Doors.

As always, pour something strong, turn it up and enjoy.

Cheers!