Tennis

If you buy this C.D and have heard a lot of Rea's later works such as "Road to Hell,". Be prepared for a shock. "Tennis" is extremely far removed from his later works. That isn't a bad thing though. On the title track, he plays a punkish guitar and delivers some un-Rea like vocals. "Sweet Kiss," continues the onslaught and several other songs sound more like 10CC than Chris Rea. There are even some soul ballads here too such as "Every time I see you smile," and the agressive "Stick it,". Chris also shows he is equal to bands such as Cream in the jamming stakes on "Friends across the water," and "No work today," which had an unfortunate title considering that two years later he nearly quitted the music business! However, this is a fine album with a good range of styles- nice job Chris.

Chris's third studio album represents a real departure from his first two. This time out, for whatever reason, Chris is allowed to produce the album himself. For me the result is, without a doubt, the best of Chris's early albums by far. Gone are the slightly conspired and highly produced sounds and along comes some real Chris Rea! Hurrah!

First up is the title track `Tennis'. Interestingly this was one of two singles released from the album. Heavy on bass guitar from the outset this is a great illustration of Chris flexing his musical muscle, strong on guitar with a driving baseline. Lyrically there is a subtle reference to the infamous seventies picture of the girl playing tennis. Anyone who has seen the picture will know immediately what I'm referring to. It really is terrific stuff and has more to it than most of Chris's tracks before this. One footnote, at the end of the track there is a piece of conversation. It is very quiet, probably to lull you into a false sense of security as you turn the volume up to hear it, only to be blasted out of existence by a deafening bass note that ends the track!

Next on the album is `Sweet Kiss'. To me this track has a convoy/trucking song air to it. Again we carry through with the bold and strong driving bass line. It really fits Chris wonderfully for the time it was done, speaking of, as it does, a young guys obsession with a girl. Chris really gets going with some real guitar work here and it is as if he has finally been allowed to hit full swing on this track. We also have some brass dropped in which continues to feature throughout the album.

Next up we have one of my all time favourites, `Since I Don't See You Anymore'. This has a wonderful guitar driven rhythm to it and once again we have some country-esque overtones which, far from detracting, really adds something to the song. We also hear an instrument that is either loved or loathed by most people, the accordion. Personally I think it is utterly wonderful on this track. It lends it something of a Gaelic quality and really makes the song. It really is a beautifully put together sentimental number and quite possibly the best track on the album. Certainly one of Chris's all time best songs.

Next up we have `Dancing Girls'. This was actually the only other single released from the album. I think is a good thing it was a single, as yet again it is one of the best tracks on the album. It's a great shame it didn't enjoy the success it deserved. Not too dissimilar instrumentally to the previous track this is a little more up-tempo. Wonderfully positive lyrically it is a real feel good song. Almost out of place for many people who think of Chris as somewhat dour! It has a terrific rhythm to it and it is a tragedy this wasn't a big hit. If this doesn't get your toes tapping I don't know what will.

Next up we have the first of two instrumental tracks on the album. This is something of a departure from previous albums, although "Cenotaph/Letter From Amsterdam" on the previous album `Deltics' almost qualifies for the first part of the track, as does the title track of the previous album. Again we are very much in the same vein instrumentally as the previous couple of tracks and it runs on quite pleasantly.

The sixth track, originally the last on side 1 of the album, is `Every time I see you smile'. This is a slightly lower tempo this time, almost ballady in nature, but not quite in that territory. Again we have some brass featuring over the end of the track.

Track seven, the start of the original side 2, opens big on brass and drums with `For Ever and Ever'. Once again there is some great energy in this track. The overriding feature that stands out on this track is the driving drums, almost like an Indian war beat! No lack of guitar again, although still not a lot of Chris's characteristic slide playing associated with later tracks.

Track eight is `Good News', literally. We're back to a more conventional format after the last track. This time we are following the fortunes of various and sundry whome are after the aforementioned good news. It has all the ingredients you'd want musically and helps the album along nicely.

Track nine is another instrumental, `Friends Across the Water'. For me this is the first demonstration of Chris's amazing ability to conjure an image purely with music. This track speaks of warm summer days and sunshine although I couldn't put my finger on why that is. It has a slightly reggae style baseline with the tune carried by Chris's wonderful guitar playing. A wonderfully summery bit of music to listen too while you are chilling out!

Track ten on the album is titled `Distant Summers'. It really does not fit in. It's a very short track at just over two minutes. Instrumentally it is quite minimal, consisting almost entirely of piano with some flutey synth reminiscent of `Forever Autumn' by Justin Hayward. It is a quite beautiful and most haunting number, whether it fits the rest of the album or not.

Track eleven `Only With You' is back into the pop mode, with perhaps some funk leanings. Again there is a prominent base line and some brass thrown in. It is a real up tempo number and a love song of sorts. It is one of those real feel good songs after the somewhat haunting, almost dark previous track.

Finally the twelfth track, which is simply titled `Stick It'. From the title you would probably get the idea that this song is about telling someone to go get stuffed, but the real meaning is quite different. It is a sad ballad about the collapse of industry, something that was a very real threat, particularly in the north of England, (for those who don't know Chris is from Middlesbrough), in the late seventies and early eighties in Britain. The message of the song is really about not giving up. We see some of Chris's distinctive guitar just starting to really emerge here. Again the horns make an appearance. It really is a great number and only matched in stature much later on by `Steel River' on "Shamrock Diaries", to which it is something of a forerunner.

So to sum up, this is without a doubt Chris's best early album. What is best about it is that, unlike its two predecessors, ("Whatever Happened To Benny Santini?" and "Deltics"), this is genuinely Chris Rea as Chris Rea and not what someone else thinks he is or should be. Musically it is superior and Chris's writing style is really starting to mature and flesh out. To be honest, for me at least, you'll have to wait until you get to "Shamrock Diaries", which came about five years later, before you see a Chris Rea album to beat or match this one.

This is one of Reas earliest albums and reached no.60 in the UK. however it is one of his finest achievements. The title track is a strange song- not so much musically but lyrically, linking the verses to the chorus of 'Do you like tennis'

There are some pure songs here that are just real classics. Dancing girls and Everytime i see you smile have to be the catchiest, as well as For ever, my personal favourtite. Stick it is a powerful statement to the unemployed, it seems. There are two instrumentals the first being the best-No work today.

There are moving songs on here too. Distant summers is a short song, but fantastic with its piano themes and moving lyrics.

You don't often see this album on cd so don't hesitate to buy it!