Pack up your troubles now, take all you can carry (Return To The Last Chance Saloon - Bluetones)

Member Name: Excelle

Product:	Return To The Last Chance Saloon - Bluetones
Date:	04/05/01 (72 review reads)
Rating:

Advantages: Top music, Top lyrics

Disadvantages: A couple of dodgy tracks

Sequels are a bugger to make. You write something, be it a film, song or album, and everyone expects the next one to just as good as, or in many cases, better than, the original. And then we have the case where something, say a debut album, is so good that they could never hope to better it. You're doomed right from the start aren't you? I think you can see where I'm going with this…

After the release of their storming debut album, The Bluetones were a big name in the indie music market – big gigs, public appearances, nice write-ups in magazines – and they deserved it too. 'Expecting To Fly' was the kind of debut every band dreams of – people loved it, and it was pretty much perfect. However, the time soon came when they had to churn out a sequel – the people demanded it, and so they obliged. 'Return To The Last Chance Saloon' was recorded in early 1997, and was released in early 1998 to a waiting fan base to mixed reviews. It spawned four singles – 'Solomon Bites The Worm', 'If…', 'Sleazy Bed Track' and '4-Day Weekend'. Fans have mixed thoughts about it, and while I like it a lot, I equally know a lot of devoted fans who are less than enthusiatic about it.

But read on, and I'll see if I can convince you otherwise!

- Tone Blooze
The album begins with a great instrumental track, intended as an intro to the great 'Unpainted Arizona'. It fades in slowly a catchy drum beat and some gentle guitar riffs, before combining together with some percussion to create a rather moody and foreboding beginning to the album. The guitar work is spectacular, and somehow a little reminiscent of the first album, and it give it a kind of 'leaving the old behind' feel. The 'Tones wanted to create a new sound with this album, rather than simply an extension of the previous album, and they certainly changed their sound subtly to give thi
s album a rather unique feel to it.

- Unpainted Arizona
Continuing the feel of the first track, the nice guitar riffs and cymbals make for a rather dark atmosphere, and while it's only the second track, you already have a feel that the whole atmosphere of the album is going to be somewhat less light-hearted than 'Expecting'. While there are some more light hearted sections to the album, there's also a lot more bleak and despairing tracks. With this track, there's some nice solos present, accompanied with an interesting use of hand clapping and ringing. The lyrics are bizarre to say the least, but Mark's distinctive vocal style shines through, and this two-piece track makes an excellent start to the album.

- Solomon Bites The Worm
The first single from the album, and arguably the best. Creating rather a Mexican feel to the song with the vocals over the intro, and the rather interesting organ that accompanies them. It's quite a playful song, with the obligatory impressive guitar work, and a few effects that add a rather bizarre tone to the song. The lyrics are quite interesting too:

" Pack up your troubles now/ Take all you can carry/ On your way; your way/ Just remember this time/ You know you've only got seven days"

It's quite interesting in it's style, and the kind of song that will really get the crowd going at a gig, as it's packed full of energy just waiting to be released on the unsuspecting public.

- U.T.A.
Rather a bleak track, on the face of it, talking of the price of freedom. Distorted guitars and more brushed cymbals take up most of this track, with some interesting guitar work here and there. The effects applied to Mark Morriss' voice at intervals add a kind of a surreal sound to the proceedings, and the klaxon near the end emphasises the desperate and distraught tone of the song. It's not a bad track, but there are better on the album &
#8211; and that klaxon at the end can get damn annoying!

- 4-Day Weekend
The final single that was released from the album, and the one that had the rather bizarre Manga video to it. This song makes no bones about itself – it's all go right from the start, with some great guitar and drum work throughout. The lyrics are a great part of this song:

" We thought we could make a difference/ Be remembered when the pyramids are dust/ But we've had to learn that these bridges that we build/ Can be as fragile as a loved one's trust"

This is a loud song, quite epic in tone, and not the kind of song you want to listen to relax of an evening! It's declarative, making a statement, and above all, exciting. It's one of my favourite tracks, I have to admit – possibly THE favourite.

- Sleazy Bed Track
Another bleak track, talking of addiction and depression, and while it is undoubtedly rather despairing, it's also a great track. The guitars add to this (of course), and you only have to listen to them to see what I mean – slow and calculated, while bringing a disjointed and forceful sound to the choruses. It's a hard sound to describe, but suffice it to say that the tone is altogether despairing, while being quiet and forthright.

- If…
In an amazing jump in style, this is rather playful and light-hearted. I couldn't tell you what it's meant to be about, but it's certainly a lot happier than the general tone of the album. Being the second single that was released, I suppose that contribute to the poppy tone of the track, and the complex guitar riffs are prevalent once again for our delight. Morriss' vocals add a style all of their own.

- The Jub-Jub Bird
Back to business with this one – I can't work out what the weird effect at the start is! Anyway, the guitar starts up soon enough, and Morriss' vocals comes floating over the
guitar, before the song suddenly changes pace drastically for a verse, being quite gentle and summer-like, and reverting to it's more rocky style for the next one. It's quite a strange style, but it works and no mistake! The instrumental section near the end is punctuated by the loading sounds of a Spectrum computer (music to my ears!), although I've yet to find out what game is being loaded! If someone could enlighten me, I'd be eternally grateful.

- Sky Will Fall
This is where my gripes start I'm afraid – the album goes downhill in the second half, unfortunately, and 'Sky Will Fall' is the start of this. It's a gentle one, and while it's not a particularly BAD track, it's a bit dull, and symptomatic of what is to follow. I don't want to be too damning, as it isn't too bad (and the brass work makes a nice change!).

- Ames
This track spoils my 'downhill trend' by being pretty good. Damn! Starting with some nice guitar work, and a gentle baseline with quiet singing over the top. The verse continues this gentle tone, with some brushed cymbals in the background. The track builds up to a crescendo at the chorus, the first one being a false build up, but when the chorus finally comes, it bursts in with powerful guitar and vocals. This song is actually one of the better ones on the album, with some superb music work.

- Down At The Reservoir
I don't know what it is about this track – it just sounds slightly tacky to me. Ok, so it isn't too bad, and the happy sound is a nice break, it just seems like a bit of a let down after 'Ames'. And I can't complain about the guitar work (of course!). Just – oh I don't know! I'm confused!

- Heard That You Were Dead
This is quite a dark and moody song, giving a kind of film noir feel to the whole thing. Quite subtle, but nothing special I think. This seems to me to be one of those tra
cks that you either love or hate.

- Broken Starr
Probably the worse track on the album, and the last one (if you discount the hidden 'Woman Done Gone Left Me'). It's simple, and more than a little tacky. Not one I'd recommend to anyone!

- Hidden track – 'Woman Done Gone Left Me'
Surreal, and kind of scary if you forgot it was on here, and left the CD running late at night! An instrumental track with lots of guitar sliding, and some sort of sitar type sound. It's quite fun to listen to, and hugely moody.

- I heard that you were dead, dead before you hit the ground
I started this opinion determined that I was going to say how bad this album got towards the end, but now I've listened to it again in order to review it, I've realised it's not as bad as I remembered! Sure, the later tracks can get a bit 'ordinary', but they're still great 'Tones tracks and they should be treated as such. It's not a bad album – nothing to compare to 'Expecting To Fly', but great all the same – the guitar work is still outstanding and the lyrics are still impressive. It's makes a good follow up to the original, and I still love to listen to it from time to time. Good stuff.

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