[rating=8.00]
The Waterboys’ Modern Blues is an excellent execution of leader Mike Scott’s concept to emphasize the unity of his chosen musical ensemble for the album. This conscious decision in turn led him to a Nashville recording studio with musicians in tow including tried and true sidemen like Steve Wickham as well as a long-time Muscle Shoals session bassist David Hood (who was drafted in like manner by Traffic in 1973).
The opening track, “Destinies Entwined,” in fact, simultaneously refers to and reflects the solidarity of the group. Certainly the way drummer Ralph Salmins slams out the foursquare beat is a solid foundation for the continuity of the lyrics’ narrative, while the cutting guitars implement a refrain that rides the waves of organ from keyboardist Paul “Brother “ Brown (like Hood a mainstay of Memphis sessions). Likewise, “I Can See Elvis,” which features an acoustic guitar solo in the midst of visions depicting the King, Hendrix, Lennon and Shakespeare, prominently features the interplay of the musicians. Mike Scott produced Modern Blues himself and he’s both disciplined and objective enough to arrange so smartly he creates ambiance with for “The Girl Who Slept for Scotland” while also preserving the intimacy of his fond recollection.
The influence of Bob Dylan resonates within Scott’s writing here, but also in his vocal phrasing, especially on “November Song.” The vivid imagery of this otherwise understated tune reflects the mixing skill of Bob Clearmountain: crisp textures of electric piano are as tactile as the sad sequence of notes from Wickham’s fiddle. Within the spacious mix, “Still A Freak” sounds like an even more directly personal statement from the author, in line with the modified blues shuffles of its structure and the clipped cacophony of the call and response between him and Wickham.
“Rosalind (You Married the Wrong Guy)” may not sound so exalting as the titletune of This Is the Sea, but the number humanizes this willfully idiosyncratic bandleader in a practical way that makes it more accessible, not to mention more memorable, than its somewhat pedestrian melody might allow. In contrast, Scott and co. impart a gleeful zest to “Beautiful Now,” elevating its intrinsically addictive quality. If one or two more tracks of similar commercial craft, or a single ambitious piece were added to the mere nine tracks that otherwise comprise Modern Blues, the record might then attain truly distinguished status in their discography and on its own terms.