’90 Bisodol (Crimond)’ by Half Man Half Biscuit
December 24, 2011
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I suspect that in this posting, I am talking to an audience of people aged about 40 to 45 years, who were living (and probably at university) in the UK in the late 1980s.
‘Half Man Half Biscuit’ are back. The new album is immense. It definitely bears comparison with ‘Back in the DHSS’ and ‘Back Again in the DHSS’. The vocals are still by Nigel Blackwell. The record is still released by Probe Plus. There is still the wandering, bluesey, guitar, bass and drums backing with occasional keyboards and other instruments (including, now, violins) which always manages to sound both tight and under-rehearsed at the same time.
I hate to make predictions, but I can tell you that if there is still a civilisation on this planet in 100 years, it will be listening to this album by ‘Half Man Half Biscuit’. Why? Why should anybody waste time listening to a bunch of disillusioned blokes from Merseyside whose careers peaked 25 years ago? In a word: originality.
There is material in here that has not been done before, certainly not in this form, in this manner. You can stuff “nothing new under the sun”. This is not the sort of album you hear everyday. And, let’s face it, most of what the music industry has produced over the last few years has been more and more and more and more and more and more and more and yet more of the same, tepid, turgid, sterile, over-sentimental, over-rehearsed, commercialised droning.
Don’t buy this because your mother and father wouldn’t approve: buy it because Simon Cowell can’t make anything out of it. Let’s get back to basics: when being in a tiny minority was cool, and to hell with whether there were hard cases who wanted to kick your head in for doing it.
If you don’t believe me, ask John Osborne. Follow him on Twitter @JohnOsRadioHead