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Product details
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Track Listings
| 1. Cold Imagination |
| 2. Topless |
| 3. Rainy Season |
| 4. I Admire You |
| 5. Way Out Of Shape |
| 6. Some Will Pay (For What Others Pay To Avoid) |
| 7. Waiting For a Train |
| 8. Out Of Shape With Me |
| 9. Taking Over Heaven |
| 10. Seeing Is Believing |
| 11. Rainy Season |
| 12. Rainforest |
| 13. Cold Imagination |
| 14. Cold Imagination |
| 15. Topless |
| 16. Some Will Pay (For What Others Pay To Avoid) |
Product Description
Review
Howard Devoto's only solo album to date, Jerky Versions Of The Dream, remains a fascinatingly flawed capture of 'the Orson Welles of punk'. It appeared in July 1983 when the world had turned further away from his legend in the handful of years following the final, misunderstood, Magazine release, Magic, Murder and the Weather.
This album is firmly rooted in its era. Amid the synth brass and shocking machines, however, the quality of his writing and wit shine through. 'Topless' could have been a huge hit in the hands of a more conventional singer. 'Some Will Pay' is the album's morose centrepiece, but, by the time you get to 'Way Out Of Shape', you're completely diverted by its sound; clattering, trebly funk. You are left with an overriding feeling of Devoto (supported by Barry Adamson and Dave Formula) wandering around in something of a daze. What saves the day, here, however, are the newly-added tracks; the John Peel session from August 83 ably demonstrates how great this material could be in its paired-down form.
You really wish that Jerky Versions Of The Dream had been made more sparsely in the late 70s. NME said at the time 'It burns at both ends and gets bitty and boring in the centre. It's what I call semi-music.' And that assessment still rings true. Devoto shrieks on the brief punk rush of the intro to 'Taking Over Heaven,' 'Listen, I've just remembered something!' It's as if he recalls, amid all the stultification, what inspired him in the first place. --Daryl Easlea
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Customer Reviews
Most Helpful Customer Reviews
22 of 25 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
Easily as good as anything from his Magazine days, Devoto's first solo lp follows on thematically (if not chronologically) from the excellent 'Correct Use of Soap'.
This sees young Howie stepping light, almost delicately through this clipped, precise collection of songs. It's as if he's deliberately moved away from previous sombre (but beautiful) Mags fare and is exploring lighter - may one suggest - happier territory (Is he really smiling on the cover, or is that just my wishful thinking?).
This album is chock full of clever words and subtle, insidious pop melodies, the standout example being the joyous 'Rainy Season'; a song which arrives in an intro which made me jump in the air, and leaves in a flood!
There's at least 6 other songs of that quality: haunting, deliberate sleights of hand; swirling, infectious snippets of tonal wizardry.
I remember this coming out originally(as a child obviously), even then I was blown away by its clear, fierce determination NOT to be Magazine (but recognisably Magazine - if you see what I mean).
Another slight swing to the left and we'd be in Costello country.
'JVOTD' has stood times test superbly, and is as good for us today as its always been.
Devoto's lp deserves much wider regognition than it got in '83 and if there's a God, it'll get it.
Play alongside Colin Newmans colossal 'Not To'.
This sees young Howie stepping light, almost delicately through this clipped, precise collection of songs. It's as if he's deliberately moved away from previous sombre (but beautiful) Mags fare and is exploring lighter - may one suggest - happier territory (Is he really smiling on the cover, or is that just my wishful thinking?).
This album is chock full of clever words and subtle, insidious pop melodies, the standout example being the joyous 'Rainy Season'; a song which arrives in an intro which made me jump in the air, and leaves in a flood!
There's at least 6 other songs of that quality: haunting, deliberate sleights of hand; swirling, infectious snippets of tonal wizardry.
I remember this coming out originally(as a child obviously), even then I was blown away by its clear, fierce determination NOT to be Magazine (but recognisably Magazine - if you see what I mean).
Another slight swing to the left and we'd be in Costello country.
'JVOTD' has stood times test superbly, and is as good for us today as its always been.
Devoto's lp deserves much wider regognition than it got in '83 and if there's a God, it'll get it.
Play alongside Colin Newmans colossal 'Not To'.
8 of 9 people found the following review helpful
Format:Audio CD
...but well worth the wait. Get one while you can!
When we look back at punk/new wave, we should remember the humour, energy and creativity of it all. They might well have said 'we really mean it, man' but the best bands never took themselves (or anyone else) too seriously.
Howard Devoto has always been the one to seek out for those who love new wave and language. His words have deftness, wit and insight. Through many of the reviews of his songs you'll see a thread - people trying to make the lyrics read as well as they sound - it's not possible. They are wrapped too tightly in the music.
Lyrically, the songs are packed with surprises. He knows exactly which statements need a special timing and delivery, so the line is presented perfect and complete, quietly triumphant - sometimes like the punchline of a gag. He knows what he says rings true. Once you've got his timing and music fixed in your head, each phrase is transformed. As you continue to listen to the track, more and more of the phrases open out. The effect can be fascinating and I think all his true fans would make great claims for him as a modern lyrical poet.
Waiting For a Train, which rarely seem to get a mention, is pure genius - my idea of the perfect lovesong. It's possible that you have to spend many evenings waiting beside a railway track and many days spent getting into trouble with loved ones to fully appreciate it, but I hope not! The extra tracks are great value - in some cases, I prefer them to the originals.
Thanks Howard, and thanks to the record label, at long last.
When we look back at punk/new wave, we should remember the humour, energy and creativity of it all. They might well have said 'we really mean it, man' but the best bands never took themselves (or anyone else) too seriously.
Howard Devoto has always been the one to seek out for those who love new wave and language. His words have deftness, wit and insight. Through many of the reviews of his songs you'll see a thread - people trying to make the lyrics read as well as they sound - it's not possible. They are wrapped too tightly in the music.
Lyrically, the songs are packed with surprises. He knows exactly which statements need a special timing and delivery, so the line is presented perfect and complete, quietly triumphant - sometimes like the punchline of a gag. He knows what he says rings true. Once you've got his timing and music fixed in your head, each phrase is transformed. As you continue to listen to the track, more and more of the phrases open out. The effect can be fascinating and I think all his true fans would make great claims for him as a modern lyrical poet.
Waiting For a Train, which rarely seem to get a mention, is pure genius - my idea of the perfect lovesong. It's possible that you have to spend many evenings waiting beside a railway track and many days spent getting into trouble with loved ones to fully appreciate it, but I hope not! The extra tracks are great value - in some cases, I prefer them to the originals.
Thanks Howard, and thanks to the record label, at long last.
13 of 15 people found the following review helpful
Format:Audio CD
For me Magazine fell apart when the late, great John McGeoch decamped to join the Banshees. Nobody could blame him because having recorded and released one of the finest albums in the post punk genre with 'The Correct Use of Soap' Magazine just still could not get the recognition they deserved.
Howard Devoto and the rest of the band soldiered on for a stop gap live album and one last studio album but the road was fraught with difficulties. John McGeoch, then adding an amazing grandeur to what was the finest Banshees line-up was too big a miss to fill. Neither Robin Simon ('Play') not Ben Mandelson ('Magic, Murder and the Weather') could come anywhere near filling his shoes.
When I heard the single 'About the Weather' I thought 'Magic, Murden and the Weather' would be a box of delights. Instead, when it was released, it proved to be a turgid and disappointing end to the career of a truly great band. Fortunately, Devoto had already realised that and announced the dissolution of Magazine as the final album was released.
What does a genius do when under-employed? Devoto managed to take us all by suprise when under two years after the end of Magazine he bounced back on the stage with 'Jerky Versions of the Dream'.
I bought it on vinyl on the day of it's release and was quite honestly blown away. It is the logical successor to 'The Correct Use of Soap' in many ways. A tight backing band, featuring a few members of Magazine and some others with a Magazine association. Fantastic keyboard and Piano by Dave Formula and most importantly, Alan St Clair, a guitarist very much in the John McGeoch mould. What a discovery he was - his on-stage presence was so McGeoch you did a double take!
Most suprising is the up tempo nature of the songs. Devoto had come a long way from his angst ridden two minute throwaway sonic poems with Buzzcocks and by 1983 produced as fine a set of songs to grace any album. Clever lyrics, sprightly arrangements and all augmented with some very tasty and deft piano work from Dave Formula.
Live the band were as good as Magazine and Devoto seemed relaxed and to be enjoying himself. Of course, as ever for Devoto, the breakthrough never came and a follow up did not happen. It was almost as tragic as the break up of Magazine - if ever music deserved a wider audience it is this.
This CD re-issue was sneaked out last year, after the re-issue of the digitially remastered Magazine albums. A travesty of justice, again robbing Devoto of his just deserts and some recognition. This really is up there with the first three Magazine albums and I can't recommend it strongly enough.
Particularly good are the three Peel session tracks which are more guitar driven than they appear on the album and are a snapshot of what the Man was like live on stage at the time. Cherished memories. Seeing really is believing and making do.
Howard Devoto and the rest of the band soldiered on for a stop gap live album and one last studio album but the road was fraught with difficulties. John McGeoch, then adding an amazing grandeur to what was the finest Banshees line-up was too big a miss to fill. Neither Robin Simon ('Play') not Ben Mandelson ('Magic, Murder and the Weather') could come anywhere near filling his shoes.
When I heard the single 'About the Weather' I thought 'Magic, Murden and the Weather' would be a box of delights. Instead, when it was released, it proved to be a turgid and disappointing end to the career of a truly great band. Fortunately, Devoto had already realised that and announced the dissolution of Magazine as the final album was released.
What does a genius do when under-employed? Devoto managed to take us all by suprise when under two years after the end of Magazine he bounced back on the stage with 'Jerky Versions of the Dream'.
I bought it on vinyl on the day of it's release and was quite honestly blown away. It is the logical successor to 'The Correct Use of Soap' in many ways. A tight backing band, featuring a few members of Magazine and some others with a Magazine association. Fantastic keyboard and Piano by Dave Formula and most importantly, Alan St Clair, a guitarist very much in the John McGeoch mould. What a discovery he was - his on-stage presence was so McGeoch you did a double take!
Most suprising is the up tempo nature of the songs. Devoto had come a long way from his angst ridden two minute throwaway sonic poems with Buzzcocks and by 1983 produced as fine a set of songs to grace any album. Clever lyrics, sprightly arrangements and all augmented with some very tasty and deft piano work from Dave Formula.
Live the band were as good as Magazine and Devoto seemed relaxed and to be enjoying himself. Of course, as ever for Devoto, the breakthrough never came and a follow up did not happen. It was almost as tragic as the break up of Magazine - if ever music deserved a wider audience it is this.
This CD re-issue was sneaked out last year, after the re-issue of the digitially remastered Magazine albums. A travesty of justice, again robbing Devoto of his just deserts and some recognition. This really is up there with the first three Magazine albums and I can't recommend it strongly enough.
Particularly good are the three Peel session tracks which are more guitar driven than they appear on the album and are a snapshot of what the Man was like live on stage at the time. Cherished memories. Seeing really is believing and making do.
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Most Recent Customer Reviews
Oh my giddy aunt, it's been re-released at last!
Others here are far more eloquent than I as reviewers of this masterpiece.
All I'll add is that I have been searching for this since 1991 when a work colleague left. Read more
All I'll add is that I have been searching for this since 1991 when a work colleague left. Read more
Published on 11 Mar 2008 by ryallsy
"my brain's a leaky boat"
Devoto's only solo album suffered in comparison to the best of his work with Magazine. Unfairly I think. Read more
Published on 30 July 2007 by Dr. D. B. Sillars
At Last!!!!
I've waited for this re-release for years! There are lots of real gems on this album. Devoto's work still sounds as fresh and as edgy as it always did. Read more
Published on 23 July 2007 by Midas
I am on fire... and it's the rainy season!
Thanks for reissuing this album, I remember being mesmerised by this record back in the 80's. Rainy Season is such a brilliant track, you should buy this album just for that! Read more
Published on 11 Mar 2007 by S. Hollis
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