The Manning music machine motors on with
their latest release Songs From The Bilston
House, an album inspired by an abandoned
house Guy Manning noticed whilst in Bilston for the
first Summer's End festival. While it might seem an
odd thing to say, this is the most "proggy" that I
remember Manning being. I say odd, because he's been
progressive all along, but musically, there seems to
be a stronger element of "classic prog" in the
compositions. But, there's also the expected folksy
element, here something that mixes together
Americana and Celtic styles, all centred on the
fiddle (Ian 'Walter' Fairbairn) - an instrument that
links the two together (and given migration from the
"old world" to the "new world" over the past few
centuries, is that really a surprise? I think not).
Examples of this are in "Lost In Play," "Skimming
Stones," and the closing track "Inner Moment."
Songs… is filled with approachable music
without pretence; that doesn't mean simple or pop,
but that it is arranged such that you are drawn in…
invited in, as it were, to sit a spell and learn a
bit about some of the (imagined) inhabitants of this
house. Musically rich without a lot of heavy
symphonic elements - not that those are bad, but the
more open, airy, folky arrangements make this seem
fresh and energized. Like a room with fresh coat of
paint, new windows that let sunlight stream through
(ironically, as it is, you know, about the exact
opposite). Perhaps it is because Manning isn't
exploring darker realms of the psyche as on past
releases. Certainly this is topically much brighter
than the series of tragic deaths on Anser's Tree,
and yet it is not a happy album.
Even if his "Songs…" draws upon his own
experience, their externalization gives them
universality. That isn't to say that death isn't
standing nearby, it most assuredly is - how can one
not think that about album where the central
character is the abandoned, dilapidated, and
deteriorating house; and the characters within the
various rooms are not exactly happy-go-lucky. No,
you will find a sense of loss for something in each
track, whether it's of time, people, purpose or
direction, or just of the past. In fact, the only
looking forward, heads-up song is the closing track
"Inner Moment," where the protagonist is embarking
on a journey -- or at least at the threshold of one,
as we imagine that he is standing in the doorway
with the future out before him and the past
enclosing behind him (in fact, the lyrics make this
moment clear right there in the second verse). This
is the most pastoral of the three; mellow and
relaxed, fiddle is as prominent as vocals in the
mix.
Aside from the house, each song based on a room
(real or imagined), the other recurring element one
can find in each of the album's songs, except
"Songs…" and "Pillar…," is water - a river here, the
sea there. Each of these have their symbolic uses,
and each come with their own symbolism, too. Rivers
often imply journeys, though it is the sea that
symbolizes the journey in "Inner Moment" (dedicated
"to Andy" it reads; if he means Tillison, perhaps
that is a reference to his having moved to France
recently). And windows and doorways are featured
elements in the photography of the booklet (by
Manning's daughter Rosie), all of which, bar one,
let the light of the outside world in; this is:
shining a light on the characters of the house.
The arrangement to the mid-western styled "Lost
In Play" made me think of the music of Tom Petty;
more so his solo work than with the Heartbreakers
and especially in the acoustic guitar intro (and
intro that also made me think briefly of REM's
"Losing My Religion"). But as Manning has a far
different vocal style, the similarity ends there.
And the light and airy instrumental interlude is far
more pastoral prog (and quite lovely at that) than
out of Americana … though that fiddle does creep in
at one point. A topic that Manning touches upon
often is the lost innocence of childhood - of
growing older and longing for those carefree, stress
free days of yore. Within the context of the concept
here, it's also a musing upon the children that
might have lived in the Bilston House.
"Skimming Stones" is a sad, philosophical tale
that we call all relate to. We have watched or will
watch a loved one way slip from these mortal bonds;
we all will ourselves do the same. Whilst sad it is
not mournful or morose; although Manning approaches
this with a matter of factness, it is not unfeeling…
It begins moodily with just vocals cushioned in
gentle bed of organ (though we get more strident
bursts between the first two verses). Things blossom
for the middle section, including more excellent
fiddle work that duets and plays against flute and
organ. In fact, this middle section is something
that is not quite a hoedown, but you can almost hear
each instrument - including a crisp guitar solo -
come to the centre of the circle, say their piece
(that is, solo), then step back into the group. It
is, at times, almost danceable, and I kept seeing a
crowd of folks all in browns, beiges and greys of
coarse fabric all gathered in an open framed
all-wood structure. It suggests more the peasants of
the middle ages, than the farmers of Kansas, but I
could easily see both.
"The Calm Absurd" is a Canterbury - or
Canterbury-ish - piece complete with jazzy
organ-like keyboard figures (likely Andy Tillison,
who also guests on vocals) and trilling flute (Molly
Bloom's Steve Dundon) and a swell of orchestration.
And let us not forget the fine sax solo from Laura
Fowles. While it starts out understated, by the time
the repeated last verse appears, the song flowers
open. This song has a sunny disposition, though not
quite as sunny as the title track that precedes it
and opens the album. Though "Songs From The Bilston
House" details this dark and gloomy place, full of
mystery, the mid-tempo, upbeat, swinging, danceable
rhythms come in contrast, where keyboards are at the
forefront.
One of my favourites is "Understudy." It's a
rocking progressive rock track with a bit of muscle.
Whilst not lyrically, it's a track that is fun to
listen to; it has a lot of movement and drive. It
mixes in a lot of prog influences without sounding
retro at all - keyboard effects suggest Hawkwind;
heavy rhythmic percussion and a certainly lyrical
turn of phrase suggest some of the best of Fish when
we was with Marillion (although Manning has always
been lyrical). We get parpy keys; a memorable
chorus, and you can be sure if Manning (the man and
the band) perform this live, this will be the
"audience clap-along/sing-a-long" track of the set
(of the new material). There are probably more
biblical references here than I can identify, but I
do recognize references to Moses.
"Antares" is a mostly peaceful, gently undulating
piece contrasting the sea and sky - though it is
mostly about the sky. Sailors use the stars to guide
their ships, but our protagonist is focused on but
one, the titular Antares. This is the 16th brightest
star in our night sky. It's not quite melancholy,
but wistful. And if I'm reading it right, the sea is
turbulent outside whilst his father and brother sail
back home, perhaps losing their catch, and our young
boy -- young or else he'd be out on the water, too
-- is stargazing. And yet, if young, also fatalistic
- "Our own journey is short and over soon…" compared
to the star's, which can take years to be seen by us
(no science lesson follows, research on your own).
Of course, we can read this another way: much as the
lighthouse will help guide his father and brother
back to shore, the light from Antares is guiding our
protagonist elsewhere (so maybe there is a tragic
ending here) - this second "interpretation" draws
from the illustration accompanying the song.
"Icarus & Me" is one of two that makes reference
to music. Although "The Calm Absurd" also refers to
the creative process, there it is songwriting
(writing a love song, in fact; cf. Fish's "Cliché"),
that is… well, okay, let's say "Icarus & Me" is one
of three that makes reference to music. And
you might think "Understudy" refers to the theatre
arts; in as much as all the world's a stage, it
does, but there it is more metaphorical. So… "Icarus
& Me" musically is a bit Beatles-esque at times…
like "Understudy" it is more a rocker than a folker
(eh, pardon the word creation there). Beatles, yes;
but I also thought of Billy Joel, too. And not just
because of the tinkling piano. But neither of these
are dominant elements, and I'd wager only the
Beatles is apt, the Joel just a coincidence (or just
me again). The "music room" is what inspires this
tale of a musician for whom fame remains elusive
reminiscing upon a key moment in his life… though
the perspective seems to shift from stage to
audience between verses… perhaps a shift from dream
to reality?
The Beatles get a name check in "Pillars Of
Salt," as well as lyrical references and musical
references, too; the arrangement also recalls the
latter period of the band, though Manning sounds
here more like Starr than Lennon, McCartney or
Harrison. And though Starr has not been considered
to be the best vocalist of the four, I do not mean
that as a comparison in the negative. Just that the
sound Manning's voice sounds like Starr's, Manning
is a better singer. Anyway, not to dwell on that,
here we are in the parlour, filled with memories of
the 60s. A strummed guitar and a hint of organ, lead
us into the room to have a look around, see the
tattered posters on the wall… Swooping and chiming
60s-styled guitar phrases resonate in this
melancholy paean to a time and promise that are
gone. "Which way did the sixties go?" Manning asks.
There's a passage that references "Strawberry Fields
Forever."* We even get a passage with some thick,
psychedelic organ, the easily transitions into a
more jazzy phrase with a vaguely middle-eastern
feel. Well, you know all the eastern mysticism was
quite popular. This transitions to a bit that
references, with its trumpeting brass, "All You Need
Is Love."
Well, I do think I'll need to listen to the whole
Manning/Guy Manning oeuvre to tell you whether this
is his best yet, because I think I might say that
with just about each latest release from Manning,
and I'm going to say it again. It edges Anser's
Tree by a slim margin; it flows together
perfectly, and so gains those extra fractions of a
point. The muses were with Manning in full force for
this one.
*Down the way from me about a quarter mile there
once was a strawberry field; and for most of my
memory thus far, it was more unused empty lot with
dying strawberry plants than an active strawberry
field. A few years ago, half the lot was turned over
to a controversial shopping centre (controversial
because folks worried about increased traffic so
near an elementary school); and just about a year
ago, the other half was turned over to more of a
shopping centre… Now, I don't really begrudge the
shopping centre as it brings needed revenue to the
area, and to do so would make me hypocritical, as I
have shopped there. But I often think to myself -
and yes, it was a long way to get here - "nope,
strawberry fields are not forever."
Added: February 16th 2008
Reviewer:
Stephanie Sollow
Score: 
