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ALBUM REVIEWS-A

Album Reviews-A

Richard Ashcroft-Alone with Everybody

Most of you who have stumbled onto this page probably are aware of the fact that Richard Ashcroft was the lead singer of the late, great and mind-blowing Verve. As the Verve's career went on (I won't use the word progressed), more of the bands songs were dominated by Ashcroft and his desire to pursue the classic singer-songwriter direction. Unlike most rock writers, I didn't think this was a good thing. For me, the key to the Verve's charm was its ability to roll anround in beds of pure sound, with Ashcroft's voice mixed with dreamy guitars, casually issuing prophecies like a psychedelic shaman. Ashcroft with acoustic guitar did not equal the power of the whole band searching for the holy grail of perfect sound.

On Alone With Everybody, Ashcroft unsuprisingly continues to move in the direction of the classic songwriter. This album seems to be pushing in the direction of orchestrated art songs by Bacharach, Scott Walker, and Jaques Brel. The problem is that Ashcroft isn't in the same league as those guys at traditional songwriting. Another thing that comes to the forefront immediately is the odd muddy production by Chris Potter, who also mucked up the Verve's swansong Urban Hymns. Endless vocal overdubs dilute Ashcroft's powerful voice and wah-wah guitars fight for space in much the same way they did on that Verve album. And unfortunately, like his pal Noel Gallager, Ashcroft seems to equate serious songwriting with massive, unimaginitive string sections.

However, if this album were released by anyone else, I'm sure I wouln't be as tough a sell. But I am aware of Ashcroft's talents as a lyric writer and singer. It just seems he's at his best with another talent along to help him with the music. The album seeks to show off Aschroft's current state of maturity and relationship bliss from the opening cut, "A Song For The Lovers". Some artists grow deeper when they encounter stability. Unfortunately for Ashcroft, he was way more interesting when he was on the edge of self-destruction, searching for the end. There are moments which hit their desired mark, particularly in "Brave New World", in which Ashcroft crafts a bridge and chorus that merits and is actually helped by the string section. (Oh, by the way, the king of session bassists, Pino Palladino, who plays on Elton John records for god's sake, on most of the songs on this album-is this maturity or what?).

The big drawback with this record is it isn't the masterpiece that I wanted to here or that Ashcroft wanted to deliver. Most of the songs are pleasant, but pleasant doesn't meet the high expectations that come along with as much talent as Ashcroft possesses. It's time to search a little deeper Ricard, and maybe trust someone else to help out the process next time.
For more Ashcroft info, go to www.richardashcroft.co.uk

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