Mike Scott has been nothing if not prolific in shepherding various lineups of the Waterboys for thirty odd years, in addition to pursuing his own solo projects. The title of the latest group work, Out of All This Blue hearkens not only to his muse, but the slightly sprawling of a project comprised of just one track shy of two dozen cuts in its formal edition and eleven extras in limited editions, all of which in their own way offer insight into the working(s) of Mike’s mind.
In fact, Mike Scott’s creative explorations have taken him from the traditional (Fisherman’s Blues) to the esoteric (An Appointment with Mr. Yeats) to the contemporary (Dream Harder, Modern Blues). Now he’s returned to a middle ground of sorts, at least insofar as he has rarely written and recorded tunes so catchy as the hip-hop tinged “Didn’t We Walk On Water” or the commercial pop likes of “Do We Choose Who We Love.” The female cooing in the background of the latter, not to mention the pumping bass and drums beneath, may belie the author’s observations on philosophical paradox, but doesn’t render it any less addictive.The interwoven piano and organ lines there hint at the enhanced clarity of sound Scott’s forged here (and preserved in Bob Clearmountain’s mix). “If I Was Your Boyfriend” furthers that impression by incorporating Celtic-flavored acoustics into the mix. The entry of horns into the arrangement of “If The Answer Is Yeah” brings a lighthearted air to these proceedings, at least on the surface: the man is demanding, arguably to a fault, and not just in the recording studio. But, as demonstrated by the perpetually stalwart presence over the years of violinist Steve Wickham (conspicuously here on “Santa Fe” among others), Mike Scott can effectively collaborate, especially if the input of Trey Pollard for those expanded charts is any indication.
The interwoven piano and organ lines there hint at the enhanced clarity of sound Scott’s forged here (and preserved in Bob Clearmountain’s mix). “If I Was Your Boyfriend” furthers that impression by incorporating Celtic-flavored acoustics into the mix. The entry of horns into the arrangement of “If The Answer Is Yeah” brings a lighthearted air to these proceedings, at least on the surface: the man is demanding, arguably to a fault, and not just in the recording studio. But, as demonstrated by the perpetually stalwart presence over the years of violinist Steve Wickham (conspicuously here on “Santa Fe” among others), Mike Scott can effectively collaborate, especially if the input of Trey Pollard for those expanded charts is any indication.Hinting at the
Hinting at color in this album title (Mike Scott’s state of mind as he composed this material?), “Love Walks In” boasts cloudy strings likewise arranged by the aforementioned member of The Spacebomb Collective. It’s a tribute to the leader’s healthy detachment that he can distance himself sufficiently from his emotions to carefully discern, then dictate, the production touches in such a way his personal story becomes universal. And, fortunately for those who want to move beyond deep introspection, there’s the celebratory “New York I Love You” where an alternately comical and disturbing drama plays out.
Forgetting for the moment its expanded forms on both CD and vinyl LP, collecting the bonus tracks, remixes, alternate takes and live cuts, Out of All This Blue may constitute something of an embarrassment of riches even for the most devoted followers of Mike Scott and The Waterboys. In fact, by the time the noir of “Mr. Charisma” rolls around, some notions of a condensed version of the album (sans “Yamaben” among others?) invariably come to mind. Even the beautifully melodramatic “Rokudenashiko” can’t totally dispel such a notion, but, on the other hand, a soulful instrumental heavy on organ and electric guitar, “The Memphis Fox,” might well have been inserted near the latter stages of the album rather than relegated to one of the surplus pieces: It’d provide some much-needed pacing at that point of Out of All This Blue.
Thankfully, the intimacy of the acoustic guitar and piano presentation of “The Girl in the Window” performs much the same function and effectively precludes what might otherwise become terminal bombast. So, it’s an understatement to say it’s fascinating to delve into the latest product of this self-avowed psychedelic gypsy’s life and imagination, both as a creation unto itself and as the logical culmination, at least for now, of Mike Scott’s expedition into his art.
