How does it compare to the artist's other releases
Outstanding
Value for Money
Good
Advantages:
Thoughtful, gentle and above all, British .
Disadvantages:
Depressing, sullen and not good listening for a bad day . . . .
Recommend to potential buyers:
yes
Full review
Short haired, young unemployed bum in a long dark coat is probably the first visual concept one comes up with when trying to describe the presence of Mr David Gray. Ordinary - no frills or even the hint of lip gloss can be found on this peculiar singer song writer who seems to have sprung up from no where only to slip quietly into the night in the last year or so. Where has he been? No one seems to know. It would appear that when an artist treads over that invisible line from commercial chuck-an-album-out-now-before-they-get-bored attitude to British film soundtrack that gives a musical backing to yet another Hugh Grant scene with puppy dog eyes, they inevitable happens; the singles dry up and Ben Elton forever leaves message on the answer phone, so let's take a peek at was has been in the world of greyer than grey, Gray…
From leaping subjectively from North to West to North again, he has certainly spent his youth as a well travelled young man. Ireland took him under it's green, lush wing and a smallish career fledged. He found a even smaller circle of friends and fans was developing (due to lack of interest in anyone else) and the promise of a future in music was heralded.
It took him, a staggering 8 years before he reached any recognisable success. (Why is it so easy to get a mediocre voice with no personality to win the X factor in three months?) It was with the extraordinary, White Ladder in 1998 that he found himself a house hold name on the release of the single, 'Babylon' (reached number 5 in June 2000.) Now on a par with Domestos and Kellogg's, Gray was thrown into stardom and many awards followed for this sullen album. This, his fourth album ran straight to the hills of the number one slot in the UK album charts and awards followed.
What probably struck us most about this man who on the surface, appeared to be just another guy with a guitar (we've had Bob Dylan, we had seen it all by now) was his gentleness within his capabilities as a songwriter. Yet, strangely, the referrals to Dylan came in thick and fast. His uncanny sound was said to be unmatched since the days of Dylan. An incredible compliment it would seem, but Gray didn't want to walk in someone else's shadow. Unassuming and strictly down to Earth, he never once throws caution to the wind and hits us with something controversial, no, not Mr Gray, who will forever be known for the man that gave us serene beauty and poetry within music, and not to mention a theme tune for the first series of 'Scrubs.'
There is very little that will surprise you about 'White Ladder.' It not just only signifies that ability of this artist but also points out a halt in the music industry at the time of it's release. August 2001 was a tough time. John Lee Hooker had passed away on a couple of months before and the whole feeling of the British music scene was taking a gentle meander down a small slope. What was been thrown upon us was the swell of dance music that nothing else seemed to have a hope in hell's chance of keeping afloat. David Gray broke through however and sailed his 'White Ladder' rubber rings and all, safely to shore.
We are presented with some familiar faces, like flicking through a photo album. The album version of 'Babylon' is featured, yet stripped bare of it's commercial successfulness and lays in it's truest form as the second track. The begging features of 'Please Forgive Me,' compliments the final track which is a cover of Soft Cell's 'Say Hello, Wave Goodbye.' It is here in typical Gray form; melodic, simple and effective, yet, somehow more intriguing and powerful as it's original recording. Gray has the ability, in this example of taking a track, a well known one, and making it his very own.
Despite his drolling vocal and winding approach to his material, he doesn't give the impression of mono tones and repetitive tunes too much to make the listener feel bored. He folds his arms, sits back and says 'there you are..' You want to know what goes on in his head? Then listen; an artist doesn't come straighter than this album. We even find ourselves pining for a boat and a sublime wave to 'Sail Away,' there is great amounts of room for escapism and dreams here. Fear not, dive in and let your mind carry you off.
Essentially, 'White Ladder,' has allowed us to take a peek into the very spirit of a true singer songwriter. Yes, the likeness between Gray and Dylan is there and it is, somehow, like having Dylan back again when he was inspiring, fresh and new. Gray gives us the opportunity in this album to step further into a man's psyche. He gives us an open door into his soul so we can feel his music as opposed to just listen to it. It captivates and refreshes us in the knowledge that somewhere, musicians can still be on the same wave length as the rest of us. The monochrome effect and depth of 'Nightblindness,' and the sullen words of 'what are we gonna do when the money runs out,' gives us the readiness of this artists work to tune into real life. The down side of this album is the depressive effect that it can have on you. There is little in the way of the feel good factor, yet it the element of the day is reflection and thought, then this album will take you gently by the hand and guide you through which ever mood you chose….
David Gray - vocals/guitar/piano Neill MacColl - guitar/mandolin/vocals Andy Metcalf - organ Simon Edwards and David Nolte - bass Roy Dods - drums
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