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Track List
01) Coming Home
02) Bang to Rights
03) Sunlight
04) Caravan
05) Naked in Pitsmoor
06) Time Has Made a Change
07) Happy Families
01) Coming Home
02) Bang to Rights
03) Sunlight
04) Caravan
05) Naked in Pitsmoor
06) Time Has Made a Change
07) Happy Families
4:16
3:46
2:25
2:27
3:24
3:01
3:07
Data Complete
70%
Total Rating
70%Total Rating
(1 users)
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First Released
2001
Pop
Good Natured
Rock/Pop
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Medium
Album
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Before Richard Hawley's self-titled solo debut mini-album, and the later release of his breakthrough album Late Night Final, he was known primarily, if at all, as the guitar player from the Longpigs, or as the touring guitarist for friend and longtime collaborator Jarvis Cocker's Brit-pop hero act Pulp. What nobody but his insider friends could have known, was that in addition to his stellar skills at the guitar, Hawley possessed wonderful crooning vocal chords and considerable songwriting chops. The seven songs on his 2001 debut are every bit as accomplished as the influences they portray. Hawley's artsy slices of noir come across like Scott Walker jamming with Roy Orbison and Nick Drake. His rich voice could come from any era, and indeed, if not for a copyright date, it would hard to pinpoint when the album was released. Hawley's subtle take on chamber pop makes for seven instant classics. But unlike much of Scott Walker's catalog, or that of Walker fanatics like Neil Hannon, Eric Matthews, and Cousteau, there isn't an ounce of cheesiness. Hawley's guitar floats above hushed drums, like Chris Isaak playing in an isolation chamber, as fractured, chiming percussion out of an Angelo Badalamenti film score makes for a dreamy backdrop. Tinged with country and jazz overtones, the music is hard to pin down to one genre, and pairing this fact with Hawley's gorgeous baritone voice makes for a consistently intriguing listen. Hawley would continue to mine this fantastic realm of his own creation, releasing similarly perfect mood explorations, and developing a cult audience in the process. With each new album, Hawley's audience would grow; those who missed this debut shouldn't neglect seeking out its treasures. It's hard to imagine a more superb solo debut.
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Before Richard Hawley's self-titled solo debut mini-album, and the later release of his breakthrough album Late Night Final, he was known primarily, if at all, as the guitar player from the Longpigs, or as the touring guitarist for friend and longtime collaborator Jarvis Cocker's Brit-pop hero act Pulp. What nobody but his insider friends could have known, was that in addition to his stellar skills at the guitar, Hawley possessed wonderful crooning vocal chords and considerable songwriting chops. The seven songs on his 2001 debut are every bit as accomplished as the influences they portray. Hawley's artsy slices of noir come across like Scott Walker jamming with Roy Orbison and Nick Drake. His rich voice could come from any era, and indeed, if not for a copyright date, it would hard to pinpoint when the album was released. Hawley's subtle take on chamber pop makes for seven instant classics. But unlike much of Scott Walker's catalog, or that of Walker fanatics like Neil Hannon, Eric Matthews, and Cousteau, there isn't an ounce of cheesiness. Hawley's guitar floats above hushed drums, like Chris Isaak playing in an isolation chamber, as fractured, chiming percussion out of an Angelo Badalamenti film score makes for a dreamy backdrop. Tinged with country and jazz overtones, the music is hard to pin down to one genre, and pairing this fact with Hawley's gorgeous baritone voice makes for a consistently intriguing listen. Hawley would continue to mine this fantastic realm of his own creation, releasing similarly perfect mood explorations, and developing a cult audience in the process. With each new album, Hawley's audience would grow; those who missed this debut shouldn't neglect seeking out its treasures. It's hard to imagine a more superb solo debut.
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