hissyfit: In Cassidy's Care: Reviews: R2: Jeremy Searle

Sunday, 29 September 2013

In Cassidy's Care: Reviews: R2: Jeremy Searle

MIRACLE MILE
****
In Cassidy's Care

The latest outing from perfect-pop purveyors Miracle Mile is actually a concept album. Fortunately the dragon, starship, wizard and damsel count is zero, as the narrative arc charts a relationship from beginning to end and beyond. It's not an original idea but it's brilliantly executed. Miracle Mile have been masters of intelligent, thoughtful, literate pop for many years and this is no different.
The songs are masterpieces of subtlety and observation clothed in sumptuous, lush melodies. There's genuine depth to the music and, far from just being an observer, the listener is fully engaged in the fate of the characters while, all the while, humming the irresistible tunes. Trevor Jones's vocals capture the anguish hope and despair of the protagonists while the music, rather than glossing over the surface, buoys up the words and enhances them. There's no particular song to single out - all would be highlights on lesser works.
'Underrated' is a word used of people who are anything but (see Richard Thompson). Miracle Mile are not only underrated, they're so far under the radar they're practically submerged and they deserve better.
This is one of the great records of 2013. Buy it and fall in love.

Jeremy Searle

4 comments:

Tim Patrick29 September 2013 at 07:49
Welcome back Trev...

Been awhile, eh? Kinda strange cranking up the old PC again. I think after all of the excitement climaxing with the finale of the Top 125 / Albums For Life we all may have suffered a form of musical burn-out. It was all quite a thrill, and I think Sir David at COS was wise to close shop on a high note, when he did. I must admit to feeling a major void immediately following the countdown. Fortunately, the many joys and adventures of summertime helped to fill the gap. Still, I very much missed the daily routine, all of the marvellous referrals of overlooked music, the passionate enthusiasm of shared selections, as well as the inevitable verbal ribbing of questionable picks. Finally, the general unity of a little community, bound together and born out of a love of what we believe to be "the best music in the world." It was a blast, however a sabbatical was required...

I'm still hoping Dave will open shop at COS on weekends some day. It's not the same without the sister-sites. Seems most of our treasured musical secrets are out of the bag now, along with a few skeletons, but I think there's still plenty to uncover/discover/revisit. I hope you'll carry the torch Trev. Your Prefab Sprout/Joe Henry/Jim White pieces are a great re-start...

Re ICC: Another nice review by Jeremy Searle... I imagine writing reviews must get difficult. There are only so many adjectives and metaphors... It's all been said and done before, but "They're so far under the radar they're practically submerged" is one I haven't heard before!

Note: Nothing coming close to competing with ICC for my "Album Of The Year" yet... Great to chat again!!!
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Hissyfit29 September 2013 at 10:49
Great to hear from you Tim. There was def'a bit of 'burn out' after the top 125; almost felt post coital... I agree that the 'community' thing is missed; almost sensed that we'd all shuffle into the same room at some point; whether it's front row at some Blue Nile revival or an old people's home remains to be seen; I'm sure that we'll all be wearing the same t shirt...
I've been prodding David COS a little; you never know; I miss his typos almoist as much as his enthusiasms...
Thanks for liking ICC; it's had great reviews by those who have given it a chance; there are moments when it feels stillborn...
All well with you and Myrna? Time for a letter? Funny, I was dusting off the Carver book that you sent me; it's a lovely thing...
Currently resetting; wondering what's next. I met and connected with Jim White in Aarhus; I'm hoping that we might do something together; but always miss the company of Mr Cliffe...
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Anonymous29 September 2013 at 20:59
Strange I was just thinking about the 'Top 125' today and how much I miss COS, Still hoping David will re-start the site. A Christmas special would be a good start, with all the best albums of the year, talking of which, I'm with Tim 'ICC' is still no.1 for me ,even with the return of Paddy!
Phil
Tel Aviv
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Hissyfit30 September 2013 at 10:13
Blimey; that's a compliment indeed (and in need) Phil. Thanks!
I like the idea of a Xmas special. Maybe best 25 albums of the year starting Dec 1 and culminating on Xmas day...
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‘Jones’ is Trevor Jones; principle songwriter with the critically acclaimed duo Miracle Mile, where he works alongside collaborator, arranger and musical partner Marcus Cliffe. Together they have produced nine albums, the latest of which was 2012’s ‘In Cassidy’s Care’, rated ‘Album of the Month’ by HiFi News, with respected journalist Johnny Black noting that Miracle Mile were “far and away the most unfairly unsung musical wizards ever to emerge from this sceptered isle. Big on memorable tunes wrapped around honest-to-goodness emotionally involving lyrics.”

Trevor Jones has also previously produced four solo albums: ‘Hopeland’ (2009), ‘Keepers’, (2010), ‘To the Bone’ (2014) and ‘Happy Blue’ (2016). Co-produced again with Marcus Cliffe, ‘Carver’s Law is another triumph of intimacy.
Previous critical acclaim for Trevor Jones:

“Gorgeous, as ever. Trevor Jones finds the poetry in real life; gently beautiful and genuinely moving. You may cry.” The Sunday Times

“Masterpieces of subtlety and observation clothed in sumptuous, lush melodies.” R2

“Jones is in a class of one. Near-perfect explorations of the human heart. The beauty on offer here is enough to make you weep. It did me.” Americana UK

“Achingly tender.” Folk Radio UK

“Intellectually as well as emotionally engaging.” MOJO

"Meticulously orchestrated, careful and complex, this is canny songwriting leavened by bona fide humanity." Q

“Moves you to tears and refreshes the soul. Scintillating.” Maverick

"Gentle enchantment. The loveliest melodies you've ever heard.” Uncut

“Classic pop songwriting, gorgeously realised. Jones has compiled possibly the finest catalogue of adult pop. Gently beautiful and genuinely moving” The Times

Miracle Mile: A User's Guide by Johnny Black

Despite being based in a home studio in a rural backwater on the outskirts of West London, Miracle Mile chose to name themselves after a fictional gold rush main street half a world away where, according to adventure yarn spinner Jack London, ragged 49ers would blow their hard-won nuggets on booze and broads.
They apply a similarly unorthodox approach to their career in general. The band’s core duo of singer/guitarist Trevor Jones and multi-instrumentalist/arranger Marcus Cliffe have been relentless in their pursuit of the perfect song. Not the fastest, the gnarliest or the loudest, not even the most instantly commercial, but the song whose melody, lyrics, arrangement, performance and spirit might stand the test of time, giving pleasure to listeners not just for years but centuries.
They’d be the first to admit they haven’t yet found that perfect song and maybe never will, but I’d argue that their albums — the documentary evidence of that search — deserve a place alongside the best work of time-tested tunesmiths as elevated as Randy Newman, Elvis Costello or Tom Waits.

Marcus Cliffe wasn’t yet on board when the first album, Bicycle Thieves, arrived in 1997 but already it was evident that frontman Jones didn’t fit in with the prevailing mode. There was no rage, bitterness or self-loathing in his songs and nothing at all turned up to eleven. Instead, he offered meticulously orchestrated slices of ordinary human life, transforming the mundane into the marvellous with carefully crafted lyrics sincerely delivered. Even here, though, the hypnotic sample-based "Recycletwo" revealed a willingness to experiment that marked Jones out as more than just a pop craftsman in the vein of Crowded House or Aztec Camera.

What had started essentially as a recording project had become a five-piece live band by the time the follow-up, Candids, was released in 1998. Loaded with nagging guitar hooks and dynamic vocal interplay, it included one particularly affecting piece, "Small Ad," which featured just one line of lyric, the heart-rending couplet, "Baby’s shoes, never used." With those four words, Jones conjured up a yawning abyss of grief that other writers might struggle to evoke in an entire album.

Jones quickly realised that live performance was not his forte and retired to the womb of the studio for 1999’s third album, Slow Fade, which also saw the birth of the partnership that would lift Miracle Mile higher still above the norm. Marcus Cliffe, in demand as a player for Steve Earle, Emmylou Harris, Daniel Lanois, Mark Knopfler and others, was drafted in on upright bass.
Immediately the music took a more intimate turn, with Jones exploring the little things that illuminate the big things. Almost every song offers up at least one unforgettable line, like "I'd rather be ashes than dust" in "Everybody Loved You," or the concept of filling the void left by his loss of faith "with despair and metalware" in "Starwatching."
Slow Fade was further enhanced by the delicately filigreed swirls and swoops of England’s finest steel guitar maestro, B.J. Cole, whose style sat so well with Jones and Cliffe that he has become virtually a full-time member of the band.

And then, out of nowhere, catastrophe struck. Trevor Jones’ beloved sister died in tragic circumstances. It’s typical of the man that, rather than wallowing in his grief as he had every right to do, he dealt with his loss in the quiet, honest dignity of "Sister Song," the achingly lovely tribute that concludes the fourth album, Alaska. It can’t have been coincidence that the album, despite its meltingly beautiful musical landscape, was named for one of the coldest places on earth.

By the time of Stories We Could Tell in 2004, Miracle Mile were drawing critical plaudits in every significant British magazine and newspaper, along with comparisons to such pop pluperfectionists as Prefab Sprout and the Blue Nile. Critics were noting that Miracle Mile was fast becoming a repository of timelessly romantic music fueled by the same shamelessly emotional human concerns that inspired the great standards. More than this, it was being noticed that while most bands go into decline after two or three albums, Miracle Mile were getting better, perhaps because they’d avoided the trap of trying to be contemporary, and had no need to be more outrageous than the competition, largely because they didn’t see music as a competitor sport.

The sixth album, Glow, showed up in 2005 and found Jones and Cliffe further expanding their musical palette mixing Celtic folksiness with slow, semi-industrial percussion on the inspirational "An Average Sadness," blending Badalamenti guitars with Bacharach horns on "What Kate Did Next," and opening "Strange Sympathy" with a beautifully synthesised string orchestration before letting the song melt seamlessly into a laid-back country-rock rumination on the gap between aspiration and acquisition. Glow was also their most lavishly packaged disc, gorgeously presented at no small cost to themselves.

Album No. 7, Limbo, offered fifteen songs overflowing with sensitively wrought melodies and heart-fluttering lyricism. If it’s not a contradiction in terms, Limbo was even more quietly passionate than usual, deliciously understated and, at times, devastatingly tear-jerking.

‘Cassidy’s Care’ followed in 2012 and received similar critical acclaim.
Miracle Mile may just be too concerned with timeless quality for their own short-term commercial good. They’ll never sink a fang into the jugular when they can plant a whisper of a kiss on that sensitive spot at the nape of the neck and set off a tiny ripple that will, in the fullness of time, explode in the heart. I, for one, wouldn’t want it any other way.
Johnny Black

“Trevor Jones finds the poetry in real life; Marcus Cliffe anchors it in the sweetest pop. Gorgeous as ever. You may cry.”
Sunday Times

"Gentle enchantment. The loveliest melodies you've ever heard."
UNCUT

“Gorgeous melodies, hooks galore, intelligent lyrics that demand and repay careful listening, beautifully produced instrumentation, and an overall effect that combines poignancy and joy in equal measure. Music and words come together in a state as close to perfection as makes no difference, and leaves you with a delicious ache that makes you hug yourself with the sheer overwhelming joy of hearing such wonderful music. The beauty on offer here is enough to make you weep. It did me."
Americana UK

“A little oasis illuminated by musical creativity, glimpsed like a lovely mirage. Intelligent tunefulness that doesn’t kowtow to passing trends has always been as rare as fish fingernails, but it’s here.” Mojo

“Classic pop songwriting, gorgeously realised” The Times

“Moves you to tears and refreshes the soul. Scintillating.”
Maverick

“A tender sadness. Songs that have universal resonance.”
Netrhythms

"Trevor Jones has produced a gorgeous pop album that few will hear — unless there’s justice in the world.’ The Wall Street Journal

“Jones has compiled possibly the finest catalogue of adult pop. Gently beautiful and genuinely moving”
The Sunday Times