Monster is an album telling the tales of heroes (including Hugh’s mother and from the music world, Lou Reed & Jimmy Webb) as well as villains (Robert Mugabe and Mussolini) of the 20th Century.
Monster differs from previous releases in that this album is the nearest thing to a pure Hugh Cornwell solo studio album. Hugh produces the album as well as providing all the guitars, bass and vocals, with the only other musicians being Katie Elliot adding recorder to Duce Coochie Man and album engineer Phil Andrews assisting Hugh with the drum programming.
Monster opens with Pure Evel. Summoning the sound of early Dr Feelgood, and drenched in gasoline and leather, this is the story of motorcycle stuntman and 70s superstar from the USA, Evel Knievel.
“I’m the last gladiator in the new Rome”
Tight, dirty and with raw lead vocals, this is a great start to the album and really captures the feel of its subject, an often (literally) broken star.
La Grande Dame is the first of two Velvet Undergound influenced tracks. An affectionate song about Winifred Cornwell, who lived to the age of 98 and swam every day, no matter the weather. Uncharacteristically bluesey guitar lines adorn this homage to Hugh’s mother.
Hedy Lamarr is celebrated for both her beauty and her brains in The Most Beautiful Girl in Hollywood. It’s a little known fact that Lamarr helped develop a radio guidance system for Allied torpedoes at the beginning of World War II, and that the principles of this work are incorporated into modern Bluetooth technology. A delicious rumbling bass-line underpins the sparkling verse and clever wordplay.
A typically infectious double Cornwell chorus will ensure The Most Beautiful Girl in Hollywood sticks in your head long after the song finishes.
The heroes continue with Hugh’s tip of the hat to one of his longest serving musical idols, the American jazz and blues pianist, singer, and songwriter Mose Allison. Allison influenced musicians beyond the jazz genre – The Clash covered Look Here on Sandinista! in 1980 and The Pixies celebrated his work on the Bossanova album. Hugh’s tribute Mosin’ has a hot and sticky New Orleans rhythm and blues vibe running through its veins.
Mr. Leather is the story of an aborted meeting (due to illness) between Lou Reed and Hugh in NYC shortly before Reed’s death. The song doubles up as a love letter to New York as much as to the music of Reed and The Velvet Underground.
The King of Chutzpa Phil Silvers and his comic character Bilko is the next hero. Bilko features playful lyrics and wonderful, unexpected changes of pace, in one of the album’s highlights.
Our first villain appears in the form of Robert (Mugabe). Written and recorded before Mugabe was ousted from power in a coup in late 2017, the song references the land seizures and the decline and fall of a despot.
The album’s title track pays tribute to the work of Ray Harryhausen, the master of stop-motion model animation, who was known for his work on The 7th Voyage of Sinbad, Jason and the Argonauts, One Million Years B.C. and The Golden Voyage of Sinbad. George Lucas said “Without Ray Harryhausen, there would likely have been no Star Wars”.
Monster has a warm 1960’s feel, and reminds me of another Ray, Ray Davies of The Kinks. The title track, and indeed half of the songs on the album, come in at just over the three minute mark – the perfect pop song length, always leaving you wanting more.
My favourite two songs on the album are the final two tracks. Attack of the Major Sevens opens with a gorgeous sounding acoustic (I’m not sure if this is a Martin acoustic guitar) riff and musically references Arthur Lee (Love), Jimi Hendrix, The Byrds and the song-writing titan Jimmy Webb.
Attack of the Major Sevens is a heavily nostalgic perfect pop song. Oh, and why limit yourself to one chorus, when you can have two? The backing vocals and textures lift this song to another level, as the Californian psychedelia and stream of consciousness lyrics tumble out at pace.
The album ends with Duce Coochie Man. When I first heard this song, the darkest track on the album, I wrote in my notes “Nosferatu meets The Pretty Things via Cream”. And I stand by that. It reminds me of some of the great classic rock songs from the early 70s (one of my favourite eras).
Duce Coochie Man features my favourite vocal performance on the album and is a track where the subject is not immediately obvious, but when you realise the identity of the villain, someone who was left “Hanging Around” in the end – sorry for the poor taste pun, it is even sweeter. The arrangement, especially the drum pattern and the wild outro, complete with twisted recorder lines, is a joy to listen to.
Monster is a lyrically strong and musically adventurous yet cohesive album – and it sounds amazing on vinyl, with the volume cranked up.
The second disc is a collection of re-recorded acoustic versions of Stranglers songs, titled Restoration. The strengths of the songs, in these sparse, stripped back to the core takes, shines through. Some of the arrangements you will be familiar with from Hugh’s solo acoustic shows over recent years. Subtle overdubs, mainly percussion and backing vocals, have been added.
Black and White‘s Outside Tokyo remains chilling in this incarnation, even stripped of the keyboards, drums and bass. Aural Sculpture‘s Let Me Down Easy is another highlight, and is one of the fuller arrangements, with slow-building layer upon layer of vocals and piano as the song heads to its conclusion.
A moving reinterpretation of Souls features Jethro Tull’s Ian Anderson on flute. One of the biggest surprises is Don’t Bring Harry, which originally appeared on 1979’s The Raven, and was sung by JJ Burnel.
“Harry likes to play all night, I’ll do what Harry says”
This fresh arrangement will probably result in you falling in love with this song all over again.
Goodbye Toulouse has an added layer of heartbreak, shorn of the new wave aggression found in the original 1977 version.
Ships That Pass In The Night, originally from Feline (1983) is the second song to feature Ian Anderson, and remains faithful to the original arrangement, as does it’s (blue) sister song Never Say Goodbye.
No More Heroes features raw and distorted guitar, but will always work best for me with a full electric version. Big in America lends itself to this Americana (americanUUUR) arrangement, as does the album closer, Always The Sun.
It’s refreshing to hear these fresh interpretations of some classic Stranglers songs, and Restoration is a good value addition to the double Monster package.
Monster is released on October 5th through Sony Music.
Buy Monster on vinyl from Amazon
Buy Monster MP3 album from Amazon
Tracklisting:
Monster
Pure Evel
La Grande Dame
The Most Beautiful Girl in Hollywood
Mosin’
Mr. Leather
Bilko
Robert
Monster
Attack of the Major Sevens
Duce Coochie Man
Restoration
Outside Tokyo
Let Me Down Easy
Souls
Don’t Bring Harry
Goodbye Toulouse
Ships That Pass In The Night
Never Say Goodbye
No More Heroes
Big in America
Always The Sun
The follow-up to 2008’s Hooverdam is a continuation of Cornwell’s recent back-to-basics approach. Where the production on Hooverdam (by Liam Watson) harked back to the 60s, I felt that the production on the vocals let the songs down. Hugh recorded his latest album in Chicago late last year, with Steve Albini (Nirvana, Pixies, PJ Harvey) behind the desk. The result is Hugh’s best sounding album to date, and surely up there with Nosferatu and Guilty as one of his finest albums.
Bad Vibrations is a highlight of Hugh’s live set, and has a wonderful, dirty overdriven bass sound, and Nosferatu‘esque / Wired discordant guitar / drums interplay after the chorus. The guitar at the end of the song has a real early Skids feel to it. One of my favourite tracks on the album, I never tire of this song.
Mr Kinski's Music Shack 