ELECTRA - WHATEVER: SO YOU WANNA BE A ROCK STAR ??? VOL 1
Electra is a singer - and a musician - and a songwriter. She sang and wrote all the songs on this album with the arrangements to all but 6 tracks written by her too. She played everything on here too except the guitar and drums on four tracks courtesy of Ian Jones (guitar) and Pete Riley (drums).
Scattered about the album are 8 wonderful messages left by assorted people on her very own ansafone -which leaves us with an eleven track album of songs.
Songs!!!
Sex! Lust! Desires! Humour! Love! More sex! Passion! Relationships! Did I mention sex?
The writing on this album is nothing short of pure genius - the lyrics are probably THE most engaging lyrics you've heard on any album for years - laced with humour, wry observation, sharp as a blade and so full of sexual heat, you're in for 45 minutes of boiling!! Not since Frank Zappa has anything been this lyrically adept and engrossing, serious and fun at the same time and totally unique.
Songs!!!
Delivered by a lady with a voice so pure, strong, sultry, passionate, sexy and downright gorgeous, it's almost a crime that such an amazing voice exists. With a range that's seemingly effortless, she sings, croons and even half-talks ('That Boy') her way through every song with a unique vocal that is simply incredible to hear and like no-one else before her. Classically trained, we're talking a voice that hooks you in, lures you into a dark corner, does things to you that wouldn't be allowed on the Adult Channels, then sneaks off quietly into the shadows.
Ah yes - the music! You want a style guide, don't you? Tough shit! This features rock songs like you've never heard, sultry ballads that have no precedent and songs in styles for which names haven't yet been invented - in other words, welcome to the unique world that is Electra.
The album opens with 'Fire On Ice' as seriously meaty guitar riff ushers in crashing drums, a thundering bass guitar and the high register purity of Electra's vocal as she delivers a strong song which attains heights to leave you breathless as that voice just soars and dives over the funky metal backing, to stunning effect, ending on a spectacular note before it immediately launches into the pure unadulterated sexual heat that is 'Bang Yer Dead' where you just have to listen to the lyrics and the humorous lyrical and sung subtleties that will have you smiling and tingling as the song surges ahead, that voice diving and rising over a raging metallic backing as the guitars, bass and drums roar ahead. Another charged rocker comes up next in the form of 'Better Change' with a stunning vocal performance as she simply soars through a sea of raging guitars and throbbing bass, drums providing the foundation for it all to fly, her voice once more just extraordinarily addictive and such a range as to be jaw-dropping, touching heart, soul and places that music just simply shouldn't arouse, but more about that last bit, later!!!
For 'Nancee (Queen Of The Rodeo Circuit)' we change structure - opening with a whispered vocal, multi-tracked wordless backing vocal, upfront bass and dynamic drumming, the song soars then decelerates as the almost circus-like arrangement takes the main body of the song right into a more passionate segment, all in the blink of an eye as the song moves from style to style effortlessly as it goes, telling you all about Nancee and her (s)exploits to eye-opening effect, and so brilliantly delivered yet so deceptively simple and full of multi-tracked magic, catchy and yet so sultry at the same time. 'I Would Run' is more of the same except this time we're more brooding, less jaunty, still rhythmic, with a passionate, sultry vocal that oozes warmth with a slight touch of deep regret providing an almost dark undercurrent, the lower register vocal and occasional take-off to higher planes providing the necessary atmosphere, as the backing is solid from just bass, drums and soaring string synth, on an anthemic love song with a twist, that draws you in completely to its world of lyrical and vocal delight. Then comes the song that was voted number two most popular song of last year by listeners to the online radio station, Radio Six International, in the form of 'Jonny Cash' - nothing to do with the man in black - but a sober tale of the dangers of hooking up with the wrong guy, as a twangy bass, sprightly softer drums, sparingly used string synth provide a funky, driving undercurrent on top of which the yearning, whispered, softer lead vocal and backdrop harmony vocals create the atmosphere that makes the song so haunting and addictive.
An electronic drum beat, cries of "Here Puss Puss" from a higher register Electra, signal the arrival of a single power chording guitar, distant bass and a rousing, almost baby-doll vocal from Electra extolling the virtues of all things pussy related (use yer imagination!) in the steam heat of the mix of sex and sugar that is the immortal slice of catchy songwriting, 'Kitty Kitty'. A multi-tracked vocal forms the soaring lead to the driving funk-rock of 'Look Behind You' where this solid bass and drums rhythm allows the verses and that anthemic chorus to shine, a song that is so engaging and the fact that the only instrumentation is the rhythm section and a distant rock guitar chording undercurrent, sounding perfectly natural as Electra's vocal fills the horizon.
The next track is astounding in every way - eight minutes of 'That Boy' - a half sung, half spoken song that deals with the subject matter of deep lust and sexual desire from a lady's perspective. With a backing that is just tabla drums, subtle funky bass, multi-tracked vocal harmonies, the incredibly sultry, spoken sung and whispered vocal of Electra oozes sexual frustration and lustful desire from every pore. If ever there was a song-narration exercise that was not only highly engaging every time you played it, but produced in you the desperate need for a cold shower every time you hear it, this is that song. Mouth dry? Funny feeling down below? Wanna race out and screw a friend? - yep, you've been listening to this track, for sure. Stunning!
After this, the musical post-coital cigarette that is the gorgeous strains of the Heavenly, slow moving multi-tracked wordless and sung harmonies which constitute most of 'Save You' comes (sic!) as a natural follow-on and sounds perfectly natural in this context, a dreamy, floaty, drift-away song that is positively spiritual. The album ends with another slower number, 'The Past', a bed of soft drums, string synth and deep bass undercurrent providing the warm river on top of which the impassioned, sultry, softly sung, soaring lead vocal floats and drives to perfection, occasional multi-tracked harmonies adding to the effect and a beautifully strong, yearning song to end what had been one of the most original and unique albums you've ever heard in your life, but one that you'll be hearing long, loud and often for years to come.
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