Tuesday, 11 May 2010
David Byrne & Fatboy Slim ‘Here Lies Love’
Whether David Byrne is in the guise as an artist, director, actor, singer, multi-instrumentalist, discoverer of new world music, collaborating with legends, or fronting critically adored New Wave Band ‘Talking Heads’ there is no denying David Byrne lacks creativity or ideas; and with an Oscar and Grammy under his belt he seems to know what he is doing also. So who better to apply such boundless vision to one of the most unique offerings pop music has had bestowed upon it this year.
‘Here Lies Love’ is a concept album by David Byrne, in collaboration with Norman Cook (aka Fatboy Slim) of the former first lady of the Philippines, Imelda Marcos. It traces her life from impoverished beginnings, to keptocaracy, and the eventual demise and forced exile to Hawaii.
Imelda Marcos is certainly an interesting and intriguing character. The ‘Iron Butterfly’ as she was known, had the Beatles hounded out of her country for refusing lunch with her, danced with Andy Warhol in studio 54 and even gave speech to the UN over a philosophy combining beauty and Pacman. Probably what she is most famous for is her 2,700 strong collection of shoes. However, it’s not all light hearted. While she luxuriated in a life of decadence, her loyal subjects were destitute. Her and her husband embezzled millions of dollars and their repressive regime murdered countless dissidents.
Therefore under less guided souls, this album could have ended up a whole bunch of clichés and perfect material for a pantomime. However, under the stunning guidance of Byrne who possess the vision, perspective and creativity to carry this project, these pitfalls are avoided. Byrne draws out Imelda’s contradicting personalities and it is cleverly counterbalanced by Estrella Cumpas, the woman who raised Imelda from birth but was cast aside when she gained power and placed under house arrest.
Byrne’s research is thorough as he uses direct quotes in the songs from Imelda herself. If that wasn’t enough there is a 120 page booklet explaining the CD further still. There is no narrative on the album, consisting solely of 22 songs each sung by a guest vocalist. However, there is clearly a story being told by Byrne and they come mainly from the clouded perspective of Imelda focusing upon her frequentation of disco’s during the 1970s and 1980s, particularly of Studio 54. For this Byrne opted the help of Fatboy Slim who helps to lay the various musical styles of the day ranging from disco, Afro-Latin, Broadway and soul.
The guest vocalists are predominately female, with the exception of Steve Earle, and come from the world of country, soul pop, and folk such as Florence Welch, Cyndi Lauper, Tori Amos, Martha Wainwright, and Natalie Merchant to name but a few. Some of the songs are great. Florence Welch’s anthemic opener ‘Here Lies Love’ is fantastic with its over the top style and orchestral flourishes. Similarly, Theresa Anderson’s ‘Ladies in Blue’ could have come straight out of studio 54. It is not only the upbeat numbers which work. Natalie Merchant’s politically tinged ‘Order 1081’ is majestic, as is Shara Warden’s duet with Byrne on ‘Seven Years’.
However, it doesn’t all work; at 90 minutes long it is almost inevitable that some of the songs don’t quite hit the mark. Even worse, some of them merely fade into the background. This probably is more due to Fatboy Slim than Byrne. The choice of a once overrated DJ for a time in the 1990s was always a strange one. Although, this is the sound Fatboy Slim specializes in, he doesn’t really have the ability to sustain the quality for an entire album; especially one in excess of 90 minutes. It’s certainly a case of hit and miss. In addition, with a plethora of quest vocalists channeling just a few characters renders the whole affair rather confusing and hard to follow.
However, even it doesn’t quite hit the mark there is no taking away from the ambition of this album, it is certainly impressive! Imelda Marcos herself would probably approve many of these songs herself. If nothing else, in the age of downloaded singles, a concept album commanding attention from start to finish is commendable.
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