I only discovered this yesterday, believe it or not, in the process of prepping the article! I suppose they didn't want to advertise the fact at the time, and allowed us to assume Auberge was the aftermath of Road's darkness and claustrophobic vibe. But it does explain the similar format (Side 1 concept, Side 2 standalone songs) and why there were fewer B-sides during that period. EG.
Thanks for that informative review. I had no idea that Road To Hell and Auberge were recorded at the same sessions. In 1988, I was happily surprised with how well "Workin' On It" was received in the US. The New Light album (with its re-vamped versions of older songs) sounded great and my expectations for the future were sky high. In 1989, Road To Hell arrived. Like you, I never fully warmed up to the album. The title track (part 2) was definitely intriguing and "Texas" was fantastic. Being in the US, I liked the new version of "Let's Dance" that was included. The rest of the album never impacted me. To my ears, the ratio of good songs was not as high as on previous albums. I am quite surprised at the classic status that this album has achieved. Over the years, I have returned to this album many times in an attempt to figure out what it is that others find so appealing. Road To Hell was a turning point for his career. From this point on, Chris Rea was definitely charting his own path. In retrospect, Rea's peak had already been reached and the road into the future would became very rocky with multiple unexpected detours.
It's interesting to discover that my feelings about the album - then and now - are not unique. The Road To Hell is definitely one of those examples where the success it had eclipsed its actual merits. He deserved some success, he'd been slogging away against the odds for a decade, often coming close to packing it in, so it's a little bittersweet as a fan that the album which briefly sent him into the rock elite wasn't anywhere near his best. He was always quite prolific, although most acts in the 80s were expected to do an album every 12-18 months anyway, I suppose - but after Auberge, I would get the feeling he might be better off slowing down, rather than having one quirky idea (ie the title songs of God's Great Banana Skin, Espresso Logic) and trying to get a whole quality album's worth of material together from that. He was stretching ideas, both lyrics and melodies, a bit too thin. The film seemed to be the moment when it all came tumbling down. I've never seen it, and never actually played the whole soundtrack CD (despite owning two copies!) and his health began to fail not long after I believe. Nevertheless, we've still got Auberge to cover in this series, and On The Beach - my actual introduction to the man's albums. EG.
Like you, I had La Passione and wouldn't listen to it. Just because I was a Rea-completist didn't mean that I had to actually listen to it! A few years ago, I decided to listened to it without any prejudice. I'm happy to report that although it's different than anything else in his catalog, it *is* worth hearing! I like it more than some of his other albums. I consider 5 of the songs (as well as 1 B side) to be 'keepers'. As far as the film goes, I won't ever watch it. I come from a family that was as captivated by Formula 1 racing as Rea was. I kept telling my brother how great the film was going to be. In my mind, Chris wouldn't put so much time and energy into something that was lousy. Once the movie was released, I was quite embarrassed when my family (and the entire racing community) felt that it was a disaster of a movie.
I guess you mean La Passione ? Chris a couple of years later starred in Michael Winner's last film - Parting Shots - a British black comedy about a photographer taking out revenge on people because he is led to believe he has a terminal illness. I sense in the late 90s Rea was taking his career in different directions, but his own personal conditions were to become more significant factors.
Sorry yes I meant La Passione...I'd forgotten about Chris' acting exploits! I agree about the way his career developed in the 90s...already by '89 he'd become ambitious enough to do the concept album; presumably if it had tanked, he would have reverted to making "normal" albums again, but the mega success of RTH ironically encouraged him to go more in that direction, to the detriment of his output's consistency and, within a couple of years, to the detriment of his sales as well. He'd wanted to make films for a while, but just like Pet Shop Boys in 1988, even if an artist makes really cinematic-sounding records, the results when they actually create something for the cinema never comes close to the imagery they conjure up in your imagination as you listen to their music. The one-two of Banana Skin and Espresso sent him back to the level he was at pre-WEA, and maybe he didn't mind that...he'd earned the freedom to express himself in his own particular way, and be a Van Morrison-type figure, always circling around his favoured themes of cars, family, escape and dry humour and dispatching a new variation/update on it every year or so. EG.
An update on the bonus material from the Road To Hell delxue: though it doesn't say, the version of Working On It isn't the same as the one from New Light Through Old Windows. It sounds more like a 7" edit of the Martin Brauer extended remix (which is on the bonus disc as well). EG.
Enjoying this thread which I just discovered. I will read Eric’s reviews tomorrow on my commute. Bought 5x 2CD remasters plus bonus an have loved Shamrock and On The Beach. It fascinates me that in Australia Chris seems to have been ahead of the curve. We loved Water Sign through Shamrock. On The Beach was break out and Dancing was an absolute smash dragging On The Beach back up the charts. New Light sold well but most already knew the songs. Road To Hell was a let down. It sold ok but none of the earlier magic. Auberge ... not too bad. Anyway I have Dancing through Auberge to go. Dancing is a piece of lightning in a bottle IMHO. I’m going to savour it.
I don't understand why almost no love to the Gods Great Banana Skin. This album has few killer songs and many very good ones. Quite dark one by a Chris standard. Actually I do not like only one song on it, Boom Boom. And absolutely fantastic guitar work from Chris on the Nothing to fear. I like GGBS much more than The Road or On the beach, both of which have only few really cool tracks, IMHO.
Oh, don't get me wrong...personally I think GGBS is a better album that Road To Hell, and its best songs are superb. Nothing To Fear is fantastic and full of Eastern atmosphere....and the title song is possibly his best out-and-out melody since Fool If You Think It's Over. I also love Miles Is A Cigarette...but then a lot of the rest seems to fizzle out. Same with Espresso Logic (although none of that album comes close to GGBS). I often wish he'd held fire on a new album until 1993, and used the best bits of the two albums to make a really excellent LP. He just seemed to be in a hurry for some reason, and his sales suffered. EG.
Well I have now been enriched by Eric’s insights - eloquently expressed as always. Absolutely nailed Dancing With Strangers. Those 84-87 years are a golden period for Chris. I also agree with your comments about New Light and the more downbeat assessment of RTH. I remember being disappointed with RTH on release - except the title track. As you said, there is a fair bit on it which lacks the melodic and lyrical punch of the earlier material. Tell Me There’s A Heaven is a case in point. I am yet to play Dancing, Road and Auberge 2CD sets.
Even now, I can't get my head around Tell Me There's A Heaven. Is it just the simplistic melody, the awkward lyrics, the whole strange vibe of the track? Most of Side 2 is just "will this do" levels of competence. I'm surprised he was satisfied with material like Just Wanna Be With You and Daytona. That's What They Always Say feels like a regression to pre-1985 Chris Rea records, when he was trying to get a Top 40 hit to please the label. EG.
Apparently, I may be mishearing this, or else the remastering / my fancy new Denon CD player is bringing new aspects of the mix to my attention. I was surprised that they might not have put the "correct" New Light.. version on the bonus disc, but these things can happen.... EG.
One of the strangest moves Rea ever made was playing the central role in a terrible Michael Winner film, released in 1999. I can't remember the name, now, but Rea played a hit-man who is diagnosed with cancer. It's on youtube and I watched a bit of it a while back but could one take so much before I had to leave it. It's truly dreadful but features an astonishing supporting cast (Diana Rigg, etc.). Although obviously not an actor, Rea's unassuming central performance is the only likeable thing in it.
I remember RTH was released around the time lots of people were buying their first CD players and it was a popular demonstration disc.
I find that God's Great Banana Skin is a good album. I only skip one track. Lots of good tracks. Not any single track that makes me say "wow".
Recently acquired "The Road to Hell" and there's a used copy of "Part Two" in a local shop - how does it compare? Just wondered if it's worth grabbing.
Been there since the beginning. However if l hear Fool if you think it’s over and Let’s Dance once more, it would be once to much for me. That’s it folks, not bad for how many albums he’s done, and l have them all. He has a magnificent portfolio.
I like it, but it is probably not for everyone. It has a similar dark feel to the first album but lacks any real standout songs.
Maybe I'm just extra fragile, but the first time I heard that (back when that album came out) it put me in tears. Even now when I hear it I still get a lump in my throat, and my eyes dampen. It definitely sticks out from the rest of the albums' vibe
