CA VA [CD]

Peter Blegvad, Anthony Moore and Dagmar Krause have been responsible for some of the most challenging -- and at the same time tuneful and endearing -- pop music in the modern era. They are not well known outside of progressive music circles, but their work has been for me (and others, I know) a beacon shining through the fog of the lowest-common-denominator, mass-produced, force-fed pablum that passes for pop music. If you've ever heard them on the radio, consider yourself present at a rarely occuring event.

Recorded after a 22-year hiatus (although all three musicians have been VERY active separately during that time), the sound on this album is noticably more modern and refined -- albeit expectedly so -- than their last release, 1975's DESPERATE STRAIGHTS, a joint venture with Henry Cow. One of the most apparent differences for me, on first listening, was the fact that the trio is playing all of the instruments themselves (with the notable addition of drum loops by producer Laurie Latham). They were actively involved in playing on their older recordings as well, but with help from some pretty amazing friends, including Henry Cow members, trumpet ace Mongezi Feza (forgive me please if I've misspelled his name), violinist Graham Preskett and others. The sound on this disc is tighter, more in what you would call, perhaps, a 'radio-friendly' style -- but without making any major concessions to an attempt at mass-market appeal.

The melodies concocted by Blegvad and Moore have always been unusual -- but hummable -- pieces that owe as much of their heritage to jazz and classical music (both historic and modern) as to rock and roll. In the hands of these thinkers, it works very well, and combined with the thought-provoking lyrics, alternately witty and profound (and every level in between), by all three performers, it makes for a rewarding and unforgettable listening treat. All three members contribute songs here, with collaborations together and with others -- including 'Child then', with its credit of 'Blegvad/Partridge', which I'm guessing might be Andy Partridge of the great British pop band XTC. 'King of straw' is credited to 'Blegvad/Gregson' -- which, again guessing, might well be Clive Gregson.

Carrying most of the melodies and lyrics is the inimitable voice of Dagmar Krause -- and no one sounds anything like her. German born, her expressive range is amazing, moving from an almost cackling version of German cabaret music to tender cooing, lending these jewel-like tunes jazz and art song shadings as the song -- and her mood -- dictate.

The album starts off with one of the strongest, most accessible tracks (at least musically), 'Scarred for life'. The unwary listener who finds themselves tapping their foot to this catchy number and humming along might find themselves a little uncomfortable when they begin listening to the words: 'Leave me something to remember you by, more than a lock of your hair -- leave me scarred for life, show me that you care...We danced cheek to cheek with madness, and every little breeze whispered of the secret love we had for our disease...' Heady stuff.

The rest of the tracks hold up pretty well, also -- and, as I mentioned at the top, my rating of this recording could continue to improve. My all-time favorite Slapp Happy album is the aforementioned DESPERATE STRAIGHTS recording, followed closely by their previous album for Virgin. These two albums are available through Amazon, conveniently re-released as a single cd. Most of Peter Blegvad's solo work -- as well as his work with John Greaves (another Henry Cow alumnus) -- is excellent as well.

Echoing the thoughts of another reviewer below (and there are a lot of good reviews for this one) -- 'this is what pop music should be like'. Give them a listen!

I am pleased to say that Ca Va has exceeded even my best expectations. During the past two and a half decades since Casablanca Moon, Moore, Blegvad and Krause have developed dramatically both as composers and musicians. While contemporary in style, this album still has a good deal of the 70's feel with Hammond organ, Fender Rhodes, and theremin thrown into the mix. The way they have blended the old with the new here is masterful--almost alchemical. Slapp Happy appears to have reached its full flower with this album.

Don't get me wrong, I LOVE the old band of the '70s, and would never part with my Casablanca Moon/Desperate Straights combo CD. Ca Va, however, is not your father's Slapp Happy. These songs are mature, powerful, and engaging, yet still retaining that slight unusual edge that made Slapp Happy appealing in the first place. The melodies are intricate and finely produced, with the song quality remaining consistently outstanding through the entire album. The only disappointments that I have are the relative scarcity of this CD and the admittance of the fact that it is a dirty crying shame that this album will never get the promotion or the airplay that it deserves.