THE BOO RADLEYS – GIANT STEPS….

The Boo Radleys – Giant Steps. 1993, Creation Records

The history of rock music is littered with truly great double albums that could have been absolutely astounding single albums. Maybe the band got a little too self indulgent, or they all wanted the album to feature some of their own songs, whatever the reason, some people agree that things like London Calling, Exile On Main Street and Physical Graffiti could have benefited from a little more ruthlessness in the editing stage.  However, Giant Steps by the Boo Radleys is that rare thing – A truly astounding and consistently good double album.

Many people remember The Boo Radleys for the hit single ‘Wake Up Boo!’ in the summer of 1995, but this was not really at all representative of the band’s sound up to then.  They’d been very strongly influenced by bands such as My Bloody Valentine and Dinosaur Jnr. and had unwillingly been dragged into the so-called Britpop fraternity which diverted attention away from the complex arrangements, experimental techniques and sophisticated songwriting that the band were routinely displaying.

‘Giant Steps’ preceded ‘Wake Up Boo!’ by two years and is characterised by it’s uncompromisingly big sound.  It’s also an album that has to be taken in as a whole piece.  That’s not to say that it’s a concept album, but that it’s so well constructed as to be greater than the sum of its parts and each track is perfectly suited to following the one previous to it.  While making compilation tapes and discs in the past I often tried to include a track from ‘Giant Steps’ but was unable to decide which one to use because to hear them out of context with each other seemed wrong.  I usually ended up using ‘Lazarus’ which is the album’s centrepiece and towering statement.  Another album that I’ve similarly had this problem with is ‘Forever Changes’ by Love and the two albums also present several other similarities in that the songwriting is complex, the sound is littered with huge dynamic contrasts and squalling guitar sounds.  There’s a song called ‘Upon 9th and Fairchild’ which recalls both in title and sound track one, side two of Forever Changes (Maybe the People Would Be the Times or Between Clark and Hilldale).  Arthur Lee’s masterpiece has, for me, the most perfect coupling of brass section and rock band ever recorded, but there are times on ‘Giant Steps’ where The Boo Radleys seem to be reflecting this with their use of guitar and trumpet (also flugelhorn) in the most sublime way.   The two albums are also, in my opinion, a pair of indispensable classics – one a psychedelic masterpiece from the 60’s and the other born of more modern times, but yet to receive the recognition it deserves.

Apart from the above influences, there is dub-style bass, obvious tinges of The Beach Boys in some of the harmonies, Hendrix, in some of the guitar playing and the pop combined with dextrous experimentalism of The Beatles throughout the whole

Seventeen tracks spread over more than an hour of uplifting and sometimes challenging music – glorious!

To cite a few examples:

On the aforementioned UPON 9th & FAIRCHILD the rhythm section sets out its stall with a deep, deep funky dub-bass and rim-shot sound.  There’s some barely in-control guitar feedback that begins way back in the mix and grows to become some kind of semi-Hendrix plays ‘Star Spangled Banner’ type introduction.  The vocals (also distorted) begin, with the feedback weaving in and out of the mix.

“As the vultures circle and the bills and demands fill the floor,

It’s been three weeks and three days since I last stepped out my door”.

When the whole band plays together, stepping up the gear a bit the guitars take on that Arthur Lee, Bryan McLean & Johnny Echols quality that runs through ‘Forever Changes’ but here, perfectly matched with the funky up rhythms.

A few tracks later we get to LEAVES & SAND and it’s The Pixies formula here: gentle and softly sung vocals between unhinged guitar interludes – quiet – loud – quiet – louder – quiet – really, really loud!  This is one track that needs to be listened to on a half decent hi-fi – the density of the climactic peaks is not something that can be handled with any justice by a lesser system or low sample rate mp3 – it keeps on getting louder and more dense as the track progresses.

On BUTTERFLY McQUEEN there’s quietly strummed acoustic guitar introduction begins this one too, followed by that gentle vocal leading into a deep and bouncy bass rhythm.  Then we get the sudden attack of horns backed by distorted guitar and a whole band playing.  The horns are almost a regal fanfare but a little bit askew, the guitar jarring against them to make them feel out of tune, but perfectly in keeping with that loping bass-line.  Then, Stop! Change gear for lyrics about leaving a loved one.  Then change gear again for some Byrdsy acoustic strumming along with another guitar that sounds almost like a psychedelic kazoo!

This is the part of the album where the wide ranging influences and eclecticism make you start to realise that the title ‘Giant Steps’ could just be a huge great nod to John Coltrane.  The track ends with some of the craziest bass guitar you’ve ever heard.  That confirms it!

There are perfect summery interludes like WISH I WAS SKINNY that sound a bit like Belle and Sebastian and The Byrds but throughout the album this sound is contrasted by the full use of the range of sounds available from the standout instruments of guitar and trumpet, from regal fanfares to blurting, parping and farting, gentle acoustic strumming to all out feedback dripping slabs of noise.

As I mentioned earlier LAZARUS is the peak moment of the album – this comes bouncing in at track 13 on a loping dub bass riff with a chop-chop guitar, together giving the pulsating flavour of the best reggae.  The sound swirls and pans around the room, then comes a brass fanfare to usher in the vocals.  When the horns come back later, it’s in a huge Spector-like wall of sound.  There is a hint of Teenage Fanclub or one of Julian Cope’s ‘ba-ba-ba’ songs in the backing vocals.  It’s brilliant stuff!

Track 17, the closer to the album is a perfect choice.  THE WHITE NOISE REVISITED is a chance to wind down after all the fireworks that have gone before.

“Hey! What’s that noise? Do you remember? Kill yourself at work for what seems nothing at all, then you go home and you cry and you feel so very small, so you listen to The Beatles and relax and close your eyes, and you feel it running through you, feel the hate well up inside…..”

“…..Fashioned by the blade of a world that doesn’t care, feeling so removed, drifting through, stealing air. Then… Pause and think about it, try to move and shift the scream, and feel alive. Hey! What’s that noise? Do you remember?

So all things considered, this album is a bit of a classic that deserves to be more widely appreciated.  It can be gentle, but also frightening in its intensity.  A hugely diverse range of influences shaped it into what it is, so there should be something there for almost everyone!

The sudden dynamic swings from quiet to very loud and densely layered will challenge a lesser system.  I’ve heard speakers (not mine) almost give up and go home when asked to deliver some passages of this album!

Give it a try if you can, I’d be surprised if you didn’t like it.

The Boo Radleys

Martin Carr – songs and lyrics, guitar, vocals, keyboards
Sice – vocals

Rob Cieka – drums, percussion
Tim Brown – bass guitar, keyboards
Meriel Barham – vocals on “Rodney King” and “One Is For”

Discography:

Ichabod and I, 1990 Action Records
Everything’s Alright Forever, 1992 Creation Records
Giant Steps, 1993 Creation Records
Wake Up!, 1995 Creation Records
C’mon Kids, 1996 Creation Records
Kingsize, 1998 Creation Records

Martin Carr solo albums:

The Fingertip Saint Sessions Volume 1,

Go With Yourself,

Advertisements for Myself

All Watched Over by Machines of Loving Grace

Distractions (available for free download from his website)”

Sice solo work:

Eggman – First Fruits

Chris Bennett

Sound Quality: 8 out of 10

Music: 10 out of 10

Source of Music reviewed….. Reviewer’s own item

System used…..

Accuphase DP67 CD Player, Audio Research SP8 Pre-Amplifier, Mark Levinson ML9/ML11 Power Amplifiers, Mirage M3Si Speakers

© Text Copyright 2010 Chris Bennett.

Album cover art work and band photos © Copyright belongs to the original publishers.

NB No part or portion of this article may be reproduced or quoted without written permission.