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For sheer cinematic pizzazz its hard to beat the percolating title track, as Swing Out Sister take us on a midnight spin through Monte Carlo. Indeed, theres a tangible air of Continental cool throughout--think La Dolce Vita, Jean Seberg, Alain Delon, Brigitte Bardot.
Other high spots include kaleidoscopic opener "Through the Sky" with its spiralling Fifth Dimension choral arrangement hinting at Jimmy Webbs "Up, Up and Away"and the dramatic Dusty-esque "Where Do I Go?". They may not be fashionably hip, but Somewhere Deep in the Night is a mod, jazz, loungecore classic. --Chris King
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At the end of 1987 Swing Out Sister were in a magical place. They had four hit singles and a chart topping debut album with It's Better To Travel. Even a top ten hit in America. To find out what they were up to one needed only to flip open that week's Record Mirror and read all about their hob-nobbing in Nancy Culp's ultra fashionable Lip column. For their follow up - 1989's Kaleidoscope World, the slick structures of Breakout and Surrender had been replaced by an homage to the catalogue of the likes of John Barry, Dusty Springfield and Burt Bacharach which, although mercilessly mined now, was hardly the height of fashion back then. They were written off back home and while they went from strength to strength overseas (especially in Japan), by the mid-nineties they were without a record deal in the UK. Their music however, progressed without being tainted by an attempt at a UK hit while the likes Saint Etienne and Mono picked up where it appeared they had left off.
Now that EMI have realized what we've been missing out on, Swing Out Sister are back and the timing could not be better. Such albums as Koop's Waltz For Koop and De-Phazz's Godsdog sit comfortably somewhere in between Nu-Jazz and Chill Out. Somewhere Deep In The Night does this equally well but with one great difference. There is a romantic overtone here. Not in schmaltzy lyric content but in the cinematic journey the music takes. If the opening single Through The Sky is evocative enough to be Central Park circa 1969 then by the time we get to Non E Vero Ma Ci Credo we are in the back streets of Rome in 1971. This may sound pretentious but the music here is not. In fact it's very real and despite their changes, the band won't run away from a great pop melody if it hits them. This is beautifully illustrated by Touch Me Now where the intro alone is pure pop genious. One might be tempted to call this album a return to form but in truth, they have always been this good.
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