![]() ![]() It’s quite funny to hear legendary jazz trumpeter Jon Faddis play a stratospheric solo on the otherwise very soppy ‘Violently’. ![]() ‘Guy On The Wall’ is a witty portrait of a perpetual party wallflower set against a ‘Word Up’ groove and brilliant Salsa horn arrangement.īassist Will Lee delivers beautifully measured performances on ‘Ordinary Angel’, ‘Dollar William’ and ‘Looking For Linda’, offering a subtle commentary on the songs back in the days when a musical performance was supposed to have some narrative development and couldn’t just be ‘cut and pasted’ together. ‘Sweet Invisibility’ puts a fantastically exciting Latin horn arrangement right upfront in the mix, beating David Byrne at his own game. The prime NYC rhythm section of Wayne Braithwate and Dennis Chambers supplies a 24-carat groove on ‘Three Foot Blasts’. Recording Remote in New York gave the Kanes access to some amazing guest musicians – Ron Carter and Michael Brecker play beautifully on the very pretty ‘Where We Wish To Remain’, and Pat’s excellent vocals demonstrate a big Mel Torme influence. In 1995, Q Magazine wrote a cruel but witty hatchet piece about them entitled Britain’s Most Hated Band, offering them ‘a crisp tenner’ to split up (it didn’t do the trick…). Maybe the fact that they’re brothers never helped too – The Proclaimers were the more acceptable face of Celtic brotherhood, more meat-and-potatoes, more reliably blue-collar. It was too jazz for the yuppies and too pop for the jazz revivalists. ![]() Hue and Cry’s relatively soft, ‘aspirational’ sound was anathema in the bombastic late-’80s. When they emerged on the scene in 1987, they rode a wave of goodwill thanks to their clean-cut looks, anti-Thatcher politics and dynamic ‘Labour of Love’ single.īut by the time of Remote, the tide was turning. They also pulled off the Steely Dan-ish trick of singing about subjects which might seem unsuitable in a pop context (domestic violence on ‘Looking For Linda’, corporate sexism on ‘Dollar William’, Latin-American poverty on ‘Three Foot Blasts Of Fire’, the dawning of the Web on ‘The Only Thing More Powerful Than The Boss’).Īnd yet something about Hue and Cry seriously wound people up. Singer/co-composer Pat Kane said at the time that they wanted to create a musical mix of Scritti and Sinatra they almost pulled it off with the excellent Remote, released in December 1988. Just for a few years at the end of the ‘80s, Hue and Cry bothered the charts with a classy fusion of pop, jazz and Latin. ![]()
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