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DRIVE NORTH WEST
'Preaching to the Deaf anthology 1992
/ 2000'
REVIEW
I was filled with trepidation really (but pleased to be able to contribute) when Dave Buckley asked me to write some comments about the tracks on the Drive retrospective CD (also, when I seriously thought about it I realised that I should have been busier when Dave asked me).
I remember (and saw) the band a few times in (maybe) one of their first incarnations around Warrington (the line up details are fuzzy but I remember Dave, Chris Wright (the drummer at the time who used to dep for me in Redhouse and did a far better job too), the not so diminutive Steve Renshaw and the rather smashing Alex Fielden), when I was playing with a Rhythm and Blues band called Redhouse (I kept tempo but not much else occurred).
It’s only recently when I’ve been given the chance to know and experience more, seeing their second gig after reforming for Dave’s birthday bash and then being given the honour of filling the drum chair as Pete Garner left to pursue, well, I’m not really sure (I get the feeling he’s just counting time as all the other drummers, particularly around Northwich, were getting a complex and looking out for clarinet lessons. He needed to give someone else a chance). So, I’ve had the opportunity to play some of this material and I have to say, sat in the drum chair is one of the best places to be (as long as Dave’s and Pat’s (Watt– the regular ‘on fire’ guitar caresser) amps aren’t too close by).
What I decided to do in the light of me sort of being in the band but being, at present, a bit of a sessioner, was too look at the tracks I’m most familiar with and try to convey some of the feeling and thoughts I have when playing them. And before I get accused of scripting anything unworthy and base, I’d like to point out that I am a drummer and by default we are all supposed to be stupid, so consider any insightful comments as a bonus and any literal ones as par for the course. Oh and I’ll try not to make any obvious band comparisons. You have been warned.
6) RADAR BITES BLACK SHOES (4.59)
This is a great song, characteristic of the material that makes the band so good, being considered in its arrangement, defined by its harmonies and gentle in its lyrical humour. It’s fairly up-tempo (see later for derisory comments relating to this phrase) and fairly straight in its feel, moved on by a pumping bass line and an extremely solid drum part, but not at all obvious in its approach. Such an approach is adequately demonstrated by a staunchly executed whistling solo in the middle, bold for it’s inclusion in a track with such a contemporary feel and some superb guitar work, highlighted at the end as the solo brings the track to close, with one guitar part meshing with the other in a “Thin Lizzy-esque” way.
8) OREO COOKIE (3.45)
I have to say, this is blues, which can strike trepidation into the heart of any music lover especially when it’s done by white, notably English, people under the age of 65, but this runs out well. There aren’t any surprises but the solos are stellar, and song-wise there is a nice (‘nice?’) twist on the usual blues fare as we get treated to one woman’s pursuit of biscuit based treats. Bass and drums nail it to the floor (with feeling) and give the solid canvas for the rest of the colours added by the other instruments. The strength of the track is it’s vocal which soars over the guitars and comes up close to convey some of the desire evident in its lyrics. This version is a good one but I have to say to get the full effect you have to see the band play it live. And have some clean undergarments in the car (yes, really…well ok, maybe I’m exaggerating a bit).
9) FIRING BLANKS (3.41)
This track again shows complete musicianship coupled with a now familiar style of left field subject (of sperm counts and the rocky road to familisation (a new (?) word I’ve just constructed to describe the inherent perils of bringing alien life forms onto the planet – or producing children if you’d prefer). It’s driven by a healthy bass part which takes pleasure in being in many places at once and is highlighted by a not so subtle (but none the less inspired) application of a phaser / flanger onto the drum kit to give a feel of trampolining (a difficult feel to produce live, believe me, I’ve tried and not dropping sticks is a major concern, particularly as you try for a crowd pleasing back flip) and oddness. And to complete the picture we’ve got a good supporting role from a Hammond-esque organ, an off beating rhythm guitar part (together with some (near buried) nice strokes from the guitarist) and strong call and answer vocals to narrate the story. A good one to watch live as the audience tend to be a bit amazed by the subject matter and the guitar solo tends to be a bit mind blowing (believe me, I have to remember to keep playing).
10) CATCH THE MOON (4.23)
This song is extremely summery (and the irony of the subject matter in light of this is not lost on me – just listen or collar the greyingly graceful Mr Buckley at the next gig and ask him) and dare I say it, a bit French. It’s, well, airy with a gentle vocal treatment (with considered harmony, yes, there’s that phrase again), tied down by consummate accordion work (probably one of the reasons this shallow drummer couples it to our gallic neighbours) and well-constructed guitar parts. The solo again impresses towards the mid point of the song as the guitarist shows that the rhythmic bits were’t dropped on by accident. And as the song drops after the guitar solo and most people think of simplicity, just listen hard to what is actually going on in the background to give that illusion (quite a bit actually). Lyrically accomplished again, one line that really resonates with me “though I treasure my time with you, uneasy lie the hours when you’re away”. Don’t ask me why, it just does.
15) ABSENT FRIEND (4.31)
An up tempo number (and why does that sound like it’s in a 60’s newspaper making a vain attempt to describe something hip and modern, “up tempo”? I ask you) with a very bouncy feel (see the earlier trampoline) and a great voca l treatment (with the usual harmony, “quel surprise!”). The dynamics work well in the breakdowns within the song, re-enforced by the drum part which brings it all up with some punctuated tom fills and the three phrase accent at the end of each song section defines it all well. Two things that strike me through listening is that I particularly like the off-beat drum feel prior to the drop when vocally (he) “can’t be there” and the occasional sustained guitar which leads into and over various points in the song. I really can’t help smiling during this song, particularly brought on by the breaks where I’m vainly trying to play over the bass part.
14) UGLY (3.31)
What can I say about this song? This really is single material and all of the band know it (as do a lot of people who get visited by the band at gigs). The vocal punches through the silence right from the count in of the song and really does power the rest of it. It’s delivered with considerable venom, a difficult thing to do in the studio unless you have just done a perfect take and the engineer was checking for level, and lyrically it does connect with a shared experience of not really liking someone all that much actually. The arrangement of the song is relatively simple but the breaks are perfectly formed and gives the listener interesting hooks without forcing progressive traits down his/her/it’s throat (take note DreamTheater – which, incidentally comes out as “Dreamt heater” when you spell check it in MSWord). The harmonies add colour to the song, the drum parts g ive pause but don’t smother and some subtle guitar (with, again a great ‘pop’ solo) and bass work finish off this great pop song (when it was actually Ok to look at that style of music with such sensibility). Excellent to play live and ill defined in my rhetoric above. Just listen and melt.
Garth Makin
March 2005