(Well, not brand new. But I do hold these back until after the print magazines have hit the racks.)
In 2003, Bleu’s Redhead album blew me away. I was on that one so hard and so fast, Columbia used my pull-quote on the front cover of the album. It came out early in the year and I predicted it would hold off all contenders, and it did – I voted Redhead as the best album of the year.
Fast-forward through the next dog year, and Bleu is recording a few one-offs, working with other artists, joining an ELO-inspired collective and even forming a pop geek supergroup with Mike Viola and Ducky Carlisle. And now, finally, that carefully Watched Pot.
I think Bleu has a lot in common with Butch Walker – he’s so talented that the tendency is to have him do too many things at once. And if I were that fortunate, to be both talented and in demand, who is to say I wouldn’t say yes more than I should? At least that’s what I surmise is happening, for as good as A Watched Pot is, I feel…well, to follow his metaphor, that it never quite boiled.
So here’s what I wrote for the latest Bucketfull of Brains.
I guess the pun here is that “a watched pot never boils“, and in fact this third album was bottlenecked by label apathy and the artists’ own perfectionist tendencies. Not that Bleu McAuley hadn’t been a busy guy since moving from Boston to the west coast; collaborating with pop savant Mike Viola (and Bleu’s Beantown producer/drummer Ducky Carlisle) in The Major Labels, and releasing a blatantly affectionate ELO nod (L.E.O.’s Alpacas Orgling). But this on-and-off project has taken quite a while to see the light of day. Maybe the formulaic music industry wasn’t cooperating, or maybe (as he sings in the first track) “nobody saved me from myself”. The irony is that while the pot is here, the contents are not exactly boiling.
I don’t think there’s a film using “There’s No Such Thing As Love” as its title theme, nor “Save Me” or “When The Lights Go Out” (the stunning vocal duet with Sandra McCracken). But if I were a screenwriter I wouldn’t hesitate to incorporate them; hell, the arrangements are so huge that they would be tempted to write a screenplay around them. On most of the songs Bleu sounds like he’s going for the brass ring, seeking either the big hit single or (via a cover version by a name artist) the big royalty opportunity.
Carlisle and John Fields have helped sculpt a huge aural platform for his songs, both lyrically and musically complex. And Bleu’s wordplay and sense of humor is firmly in place as is his subtle sinister side. Much like the stalker reveal in Redhead’s beautiful “Watching You Sleep”, his “I Won’t Fuck You Over” seems apologetic…until the very last Hitchcock-ian phrase. And I suspect the clever Bleu used the amusing tale of opposites attract in “Boy Meets Girl” to take a subtle shot at reviewers trying to pigeonhole his music (“it’s like Jesus Jones and The Rolling Stones in a game of Twister“).
My first impression was a bit of disappointment that Bleu didn’t rock out a little; some of the more engaging songs on Redhead had a little more energy behind them, like “I Won’t Go Hollywood” and “Could Be Worse”. Aside from “Kiss Me” – which crosses 60’s Motown with 70’s Philly Soul – everything on A Watched Pot is pensive and lush. But when I revisited Redhead I realized it had the same ratio of tempos; it was jus that those two songs jumped out more from the pack.
Those seeking the power in powerpop might be a little put off by the slower, more dramatic pace and struggle to take it in a single gulp. But there is no denying Bleu’s uncanny ability to create majestic pop songs with huge arrangements, and when they are sung by what might be the best pop voice since Robin Zander, that’s a small nit to pick.
Bleu on MySpace
Video for “There’s No Such Thing as Love“. (Damn…I should have been a photographer.)