Students of indie-pop pre-history will recognize Edwyn Collins as the singer in Orange Juice, one of the most heralded bands on the seminal Postcard Records label in the late '70s. The Scottish label and band were pioneers of a then-fledgling indie scene, but, like so many respected and important labels and bands of the time (as in this time), they couldn't survive with limited success, and were forced to fold. Orange Juice continued on with a major label for a while, and Edwyn released a handful of solo albums after they broke up.
Despite this long career and recognition (among the pop cognoscenti, at least), it's remarkable to find out that this is the very first of Collins' works to be released in the U.S., and at that, not until after significant sales had already been racked up all over Europe, including a few number ones. And lo and behold, America seems to be digging it, too.
As well we should - Gorgeous George is one of the most enjoyable albums of the year. It's a well-crafted record that never loses its emotional core: an album that respects and honors its soulful predecessors but which is still very contemporary; a fine balance of precision and recklessness, of romance and hard reality. You've probably heard the brilliant single "A Girl Like You" already, and reacted the same way most of did, with an initial "Wow! What the hell is that!" giving way quickly to hip-shaking grooving. It's like a record out of time, both old and new. It's one of the most instantly likable records in ages, and certainly one of the singles of the year.
Much of the album (like much of his earlier work) seems most directly inspired by the soul hits of the '60s and '70s, reveling in light, funky grooves, Collins' creamy-smooth voice riding above, crisply enunciating each "t" and "s," but allowing a slight brogue to sneak in here and there. At its best, as on "If You Could Love Me" and the title track, it's downright intoxicating stuff.
Gorgeous George is also, at lease in part, a concept album about not having a record deal. Counterbalancing the love songs are a handful which dwell on what must have been happening in Edwyn's life while he was making this album. We're clued into this early, as the album title itself refers to a British slang for a certain kind of stylish, annoying scenester, and the opening track is non-too-subtly titled "The Campaign For Real Rock." Later on, "North Of Heaven" seems to bite the hand that's rejected him, with lines like "Don't assume you can ignore me/You best bite your lip in case I/Make it after all" and memorably rips the then band-of-the-moment (who he must not have fit in very well next to): "Some mother's talking 'bout Guns 'n' Roses/As if I give a fuck/At best I think they suck/I'm too occupied with my memories/Not nonentities."
Normally, I react badly to people writing music about the music business -- I just don't think most of us care much about how you hate doing promotion or touring or interviews or whatever. But Collins makes it work here, carefully not overdoing it and keeping his sense of humor about it all. Ultimately, Gorgeous George falls together as a vivid picture of his life and feelings.
