At first glance this seems to be a bit of an inconsistent album. It reflects the struggle of Stephen Duffy, a self-proclaimed folky with a Roland synth, pushed into popstarhood. Stephen was twenty-two years old, ridiculously well-read, way too intelligent, and horribly talented. The funny thing is, it's Stephen's trying to fight the confines of his having-to-be-a-popstar that makes his TinTin work so brilliant.
The artist himself, who has eventually made his way into folk iconhood with The Lilac Time, calls this TinTin period the years he tries to forget. What he does not realize himself is the fact that, as a result of his quarrels with his record company, he came up with a unique style. Not a musical style in itself, but a wide range of pop tracks that were intelligent, poetic, diverse, cleverly crafted and well-produced. At first glance "Kiss Me" sounds like dumb pop dross -what else does one kiss with but one's mouth- but wait! Had you been as well read as Stephen, you might have noticed the song is quoting Dorothy Parker. And if you were as old as Stephen in 1984 would you even have recognized Julie Christie in the street? Chances you wouldn't have, preoccupied with your brand new Sony Walkman cassette player.
These songs, some poppy, some slow, some experimental, one dixie(!), all have in common that they are more enjoyable if you immerse yourself in them. Pay attention to lyrics, style and arrangement and you will discover a poetic hidden layer of angst, melancholy and oppressed yet defiant intelligence that even mr. Duffy himself has forgotten.
Along with the best songs of his first two albums
The Ups and Downs and
Because We Love You) have to offer, this CD brings you some hard to find yet very good b-sides and alternative versions.
All in all it is my humble opinion that these were Stephen Duffy's most interesting days and this CD presents some of his most interesting work. While he is very good at being a folky (i.e. himself) now, he was brilliant and innovative when he was trying to be poppy. At this point I should refer to The Devils'
Dark Circles and Robbie Williams'
Intensive Care. These also show that Stephen has ALWAYS been a good songwriter.
I'm not getting my hopes up, but I deeply wish one day this CD will be followed by a collection of the twelve-inches of this period, as well as a Dr. Calculus retrospective. Until then, this album will keep me sharp.