Lucky 7th tree (Seventh Tree - Goldfrapp)

Member Name: raypdaley182

Product:	Seventh Tree - Goldfrapp
Date:	16/05/09 (19 review reads)
Rating:

Advantages: Good selection of tracks

Disadvantages: Why they included an instrumental

Who are Goldfrapp?

Vocals are provided by the very kooky but extremly glamourous (and sometimes barking mad) Alison Goldfrapp, the great music is provided by Will Gregory who does a darn good job. I can't tell you if Will is glamourous or not, I always struggle to work out which of the men he is on the live appearances. This is their fourth album and as far as creativity and good tunes go they are still going strong.

So exactly what do you get on Seventh Tree?

1 - Clowns.
Alison sounding like Joan Baez singing a 60's protest song with Will creating a great guitar lead backing that fills out to a relaxed string section. Think "Cavatina" meets "Rejoice in the Sun" (by Baez, its off the "Silent Running" soundtrack) and your in the right neighbourhood. My only complaint, Alison is a bit too close to her mic for my liking.

2 - Little Bird.
Lots of phase effect on Alisons voice with the hammond type organ and violin intro, its a nice laid back start to an almost Beatles style track. Think Sergeant Pepper (Probably "Within without you") and you will get the general idea. It has elements of "I am The Walrus" too in the middle 8, lots of laid back guitars here. The drum segment is rather funky in a manner reminding me of Yellow Submarine. Near the end Alison could almost be singing "Baby You're A Rich Man" though.

3 - Happiness.
My favourite track on the album, very 70's analogue synths here, it reminds me of "The Northern Lights" by Renaisance or "Electricity" by OMD. I think its the middle 8 that reminds me of both songs but I can't decide which of the 2 it reminds me of more. Alisons overlapped vocals are very inviting, when she sings "We're here to welcome you" you'd better feel welcome as her tone really sounds like she means it. Its got a killer brass section thats held back but also makes enough of an impression to be enjoyable, the recorders are rather wacky too.

4 - Road To Somewhere.
Another fairly muted intro of just Alison and some cellos but then it picks up into an almost R n B style melody. This feels more like it was written for a movie than an album, thats just my feeling on it though.

5 - Eat Yourself.
It's almost like their going to start playing "Yesterday" by The Beatles from the intro, the hiss is like this was recorded on a very old tape player. I know Goldfrapp like to think of themselves as low-fi but the intro to this is taking it a bit far. It's a lot like very early Kate Bush or Tori Amos but the background hiss is VERY off putting for me.

6 - Some People.
Yet another understated intro of just Alison and a piano, I like muted intros as you never know exactly what your getting next. The strings and Alisons harmonised vocals kick in to lift the track but it drops back down, its very much Kate Bush circa "Man With The Child In His Eyes".

7 - A&E.
This was the 1st track to be released as a single off the album, its quite an uptempo intro to make a change but Alison is full of her Marc Bolan style of imagery that only she can get away with (The "backless dress" line is an example of that), its a track held together with quite a clean guitar line and understated synth lines. It wouldn't have been my first choice as a single but there you go.

8 - Cologne Cerrone Houdini.
A very laid back slightly funky 70's style track with its strings and guitar, I do like the chorus which reminds me of previous tracks like "Pilots" or "Utopia", this is Alison demonstrating her vocal range over Wills best orchestration. Tracks like this are why Goldfrapp should be given the chance to write a James Bond theme.

9 - Caravan Girl.
This is so like the intro of "I am the law" by The Human League and the lead riff is more like something The Sweet decided against writing in the early 70's. It does sound a lot like early prog rock (its that piano more than likely) but Alisons voice would have fitted in perfectly during the glam rock era.

10 - Monster Love.
Another very 70's style track, clearly Alison & Will had been listening to a lot whilst writing this album. This track is almost like a little mellow protest song with its very broad ranging chorus section, it does have elements of The Beatles in it too.

11 - You Never Know (Live In London) [Bonus Track].
A great live version of "You Never Know" which was originally released on the Supernature album. Proof if you needed that Alison is as good live as she is in the studio hitting EVERY high note perfectly. One of my favourite Goldfrapp tracks and it sounds as good live as prerecorded. I think its the synthy string elements with Alison hitting those insanely high notes that pull on my emotions.

12 - Clowns (Instrumental) [Bonus Track].
An instrumental version of Clowns. Great, remove the one thing that made this track bearable - Alisons voice. You have to question why they'd include this when you have a singer as good as Alison is. Admittedly its quite a nice tune but you buy a Goldfrapp album for the same reason they named the band thusly. You want to hear THAT voice, its beguiling.

Try and ignore Alison pretending to be a pirate on the front cover (I told you she was barking mad) and just enjoy the great music and vocals, its worth anyones money and stands up to repeated listenings.

(this revies also appears on ciao)

Summary: Another good album by Goldfrapp