Howard Devoto's only solo album to date, Jerky Versions Of The Dream, remains a fascinatingly flawed capture of 'the Orson Welles of punk'. It appeared in July 1983 when the world had turned further away from his legend in the handful of years following the final, misunderstood, Magazine release, Magic, Murder and the Weather.
This album is firmly rooted in its era. Amid the synth brass and shocking machines, however, the quality of his writing and wit shine through. “Topless” could have been a huge hit in the hands of a more conventional singer. “Some Will Pay” is the album’s morose centrepiece, but, by the time you get to “Way Out Of Shape”, you’re completely diverted by its sound; clattering, trebly funk. You are left with an overriding feeling of Devoto (supported by Barry Adamson and Dave Formula) wandering around in something of a daze. What saves the day, here, however, are the newly-added tracks; the John Peel session from August 83 ably demonstrates how great this material could be in its paired-down form.
You really wish that Jerky Versions Of The Dream had been made more sparsely in the late 70s. NME said at the time “It burns at both ends and gets bitty and boring in the centre. It's what I call semi-music.” And that assessment still rings true. Devoto shrieks on the brief punk rush of the intro to “Taking Over Heaven,” “Listen, I’ve just remembered something!” It’s as if he recalls, amid all the stultification, what inspired him in the first place.
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4 comments:
Nice review. And I agree, Jerky Versions seems like a massive missed opportunity in retrospect, doesn't it?
Have you seen Howard debasing himself in the cringeworthy video for "Rainy Season"? Really, it doesn't bear thinking about...!
Mr. Micron:
Thanks for the post of this frustratingly unsuccessful album. My vinyl is in pristine condition, as are most I assume, the 'semi-music' assessment is a good description, I'm afraid. I even dubbed mine to cassette and tried it in the car for a time - no help. End result for me, making Luxuria sound that much better a few years later (especially Beast Box).
I agree it's an uneven affair, but I always thought that the real trouble is that Devoto had too much in his mind trying to escape onto vinyl. Cold Imagination is a great example. It's as kinetic as any Magazine track, urgent yet poppy and purposely synth heavy. It's like Devoto is trying to pop the bubble he felt he was trapped in after Magazine. Luxuria did end up a more focused vehicle, but for me there is a lot of beauty in Jerky Versions...
Thanks! Still like Rainy Season though...
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